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 United Kingdom and from Portland.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Woodstock.
I'm losing my edge to the art-school Calgary 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 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 The Busters to the funk kids.
I played it at the Hacienda.
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 These Immortal Souls. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Echo & the Bunnymen 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Mo-Dettes record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Sunsets and Hearts,
cv313,
Smog,
Yaz,
Khruangbin,
Jacob Miller,
Ronan,
Technova,
Radio Birdman,
Gian Franco Pienzio,
Sight & Sound,
The New Christs,
Gang of Four,
Big Daddy Kane,
The Monks,
The Sonics,
Yellowson,
Be Bop Deluxe,
Scion,
The Remains,
Pete Rock & C.L. Smooth,
DJ Sneak,
Robert Görl,
Sam Rivers,
Ken Boothe,
Howard Jones,
Ultramagnetic MC's,
Mantronix,
Thompson Twins,
Terror Squad Feat. Camron,
Aural Exciters,
Marvin Gaye,
Anthony Braxton,
Hashim,
Althea and Donna,
Surgeon,
K-Klass,
Newcleus,
Matthew Halsall,
Lou Reed & John Cale,
Aaron Thompson,
Mo-Dettes,
June Days,
Inner City,
Black Bananas,
Bobbi Humphrey,
T.S.O.L.,
The Grass Roots,
Orchestral Manoeuvres in the Dark,
Yusef Lateef,
Scratch Acid,
Steve Hackett,
Bush Tetras,
Avey Tare & Kría Brekkan,
Fear,
Robert Hood,
FM Einheit,
The Pop Group,
Amazonics,
The Busters,
Soul II Soul,
Major Organ And The Adding Machine,
Interpol, Interpol, Interpol, Interpol.
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.