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 Belgium and from Madrid.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Halifax.
I'm losing my edge to the art-school Shanghai 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 808 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 Laurel Aitken to the grime 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 Sun Ra Arkestra. All the underground hits.
All Nico tracks. I heard you have a vinyl of every Main Source record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Can,
Camouflage,
Andrew Ashong & Theo Parrish,
Don Cherry,
Dave Gahan,
The Detroit Cobras,
Desert Stars,
Big Daddy Kane,
Zapp,
The Gap Band,
Avey Tare,
Glambeats Corp.,
Junior Murvin,
Sarah Menescal,
Banda Bassotti,
Kerrie Biddell,
Cecil Taylor,
Althea and Donna,
Alice Coltrane,
Nico,
Drexciya,
Aloha Tigers,
Marshall Jefferson,
Notorious BIG live in Amsterdam,
The Happenings,
The Chocolate Watch Band,
Jesper Dahlback,
The Blackbyrds,
Skaos,
The Index,
Nirvana,
Prince Buster,
Tropical Tobacco,
Albert Ayler,
Carl Craig,
The Saints,
Scion,
Barrington Levy,
The Royal Family And The Poor,
The Evens,
Cybotron,
Chrome,
Moss Icon,
Sun Ra Arkestra,
Stereo Dub,
Audionom,
Rotary Connection,
China Crisis,
Ossler,
Oblivians,
Unwound,
Lindisfarne,
Kevin Saunderson,
Television,
Eurythmics,
Jesper Dahlbäck,
Marine Girls,
Mad Mike,
Sight & Sound,
Camron Feat. Jay Z And Juelz,
K-Klass,
Organ, Organ, Organ, Organ.
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.