Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Gambia and from Accra.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1969 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Stockholm.
I'm losing my edge to the art-school Manila kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Kenny Larkin to the jazz kids.
I played it at the Astoria.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Cluster. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every The Raincoats record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a E-Dancer record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
Ludus,
Ultramagnetic MC's,
Camron Feat. Memphis Bleek And Beenie Seigel,
Brand Nubian,
Rhythim Is Rhythim,
Crispian St. Peters,
The Cosmic Jokers,
The J.B.'s,
Nation of Ulysses,
Freddie Wadling,
Graham Central Station,
Babytalk,
Wings,
Das Ding,
Heavy D & The Boyz,
Angry Samoans,
Lyres,
Cecil Taylor,
Fela Kuti,
Neil Young,
Symarip,
Selector Dub Narcotic,
Orchestral Manoeuvres in the Dark,
Brass Construction,
Terror Squad Feat. Camron,
Cal Tjader,
Sad Lovers and Giants,
John Cale,
Super Lover Cee & Casanova Rud,
Black Bananas,
K-Klass,
Blancmange,
The Leaves,
Bob Dylan,
The Zeros,
Rufus Thomas,
Newcleus,
Unrelated Segments,
Aswad,
The Litter,
MDC,
Ronan,
Byron Stingily,
Scion,
The United States of America,
Notorious BIG live in Amsterdam,
DJ Sneak,
Gastr Del Sol,
the Swans,
Vladislav Delay,
Althea and Donna,
The Red Krayola,
Janne Schatter,
Flash Fearless,
Danielle Patucci,
the Association,
The Moody Blues,
Alice Coltrane,
Cymande,
Albert Ayler,
Ituana,
Oppenheimer Analysis,
Siglo XX, Siglo XX, Siglo XX, Siglo XX.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.