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 Spain and from Lyon.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1964 to 1977.
I'm losing my edge.
To all the kids in Madrid and Lagos.
I'm losing my edge to the art-school Glasgow 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 at the first Suicide practice in a loft in New York.
I was working on the marimba 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 Harpers Bizarre to the grime kids.
I played it at the Roxy.
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 The Index. All the underground hits.
All the Fania All-Stars tracks. I heard you have a vinyl of every Half Japanese 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Jacob Miller record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Negative Approach,
Kings Of Tomorrow,
the Soft Cell,
Cameo,
The Black Dice,
Moby Grape,
James Chance & The Contortions,
Symarip,
Skaos,
Rotary Connection,
Pharoah Sanders,
La Düsseldorf,
Bizarre Inc.,
Cal Tjader,
Reuben Wilson,
Terry Callier,
Drexciya,
Todd Terry,
Con Funk Shun,
Aswad,
Pantytec,
Tropical Tobacco,
Sunsets and Hearts,
Niagra,
Groovy Waters,
Laurel Aitken,
Unwound,
Althea and Donna,
Grey Daturas,
The Cowsills,
Faraquet,
Public Image Ltd.,
Marc Almond,
Q and Not U,
Country Joe & The Fish,
Sound Behaviour,
Brand Nubian,
Amon Düül,
Harry Pussy,
Deepchord,
The Moleskins,
Be Bop Deluxe,
The Human League,
Gil Scott-Heron & Brian Jackson,
Bang on a Can All-Stars,
Oblivians,
Royal Trux,
Newcleus,
the Slits,
Country Teasers,
Easy Going,
the Association,
Panda Bear,
The Mummies,
Mission of Burma,
Art Ensemble Of Chicago,
Mo-Dettes,
Swans,
Japan,
Joe Finger,
The Electric Prunes,
Second Layer,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.