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 Tanzania and from Madrid.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1973.
I'm losing my edge.
To all the kids in New York and Taipei.
I'm losing my edge to the art-school Lagos 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Eve St. Jones to the jazz kids.
I played it at the Troubador.
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 Glambeats Corp.. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every Blake Baxter record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Eric Copeland,
Tommy Roe,
Todd Terry,
Fluxion,
Zero Boys,
R.M.O.,
Gichy Dan,
These Immortal Souls,
Pet Shop Boys,
Black Bananas,
Niagra,
Anakelly,
Arthur Verocai,
Quadrant,
Hardrive,
EPMD,
Andrew Hill,
Jawbox,
Roxette,
Siglo XX,
Newcleus,
Don Cherry,
the Fania All-Stars,
Sonic Youth,
The Peanut Butter Conspiracy,
Scan 7,
Bill Wells,
Jesper Dahlback,
Juan Atkins,
Bluetip,
Von Mondo,
Bizarre Inc.,
Ronnie Foster,
Accadde A,
The Happenings,
Donny Hathaway,
K-Klass,
Scientists,
The Young Rascals,
Pere Ubu,
Jerry Gold Smith,
Aloha Tigers,
Rowland S Howard / Lydia Lunch,
Lou Reed & John Cale,
Ash Ra Tempel,
Jeru the Damaja,
Johnny Clarke,
Connie Case,
Boogie Down Productions,
Warren Ellis,
Notorious BIG live in Amsterdam,
Lonnie Liston Smith,
Essential Logic,
Vainqueur,
James Chance & The Contortions,
DeepChord presents Echospace,
Erykah Badu,
Black Flag,
Soul II Soul,
Peter & Gordon,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.