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 Djibouti and from Manchester.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1974.
I'm losing my edge.
To all the kids in Accra and Seoul.
I'm losing my edge to the art-school Toronto 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 theremin sounds with much patience.
I was there when Robert Palmer 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 Dark Day to the jazz kids.
I played it at CBGB's.
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 Kerri Chandler. All the underground hits.
All The Five Americans tracks. I heard you have a vinyl of every Eurythmics 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 '80s cut and another box set from the '70s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a T. Rex record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Clarke,
Minnie Riperton,
Audionom,
Selector Dub Narcotic,
The Fall,
The Count Five,
The Peanut Butter Conspiracy,
Wally Richardson,
Average White Band,
Hardrive,
D'Angelo,
Echospace,
Howard Jones,
Crooked Eye,
Lizzy Mercier Descloux,
Tubeway Army,
Matthew Halsall,
Nirvana,
Kurtis Blow,
Junior Murvin,
Chris Corsano,
Gong,
Kool Moe Dee,
Depeche Mode,
These Immortal Souls,
Bizarre Inc.,
Pharaoh Sanders and the Fire Engines,
Crash Course in Science,
F. McDonald,
Radio Birdman,
Avey Tare,
the Germs,
Kool G Rap & DJ Polo,
Joy Division,
Buzzcocks,
Alice Coltrane,
Unrelated Segments,
Parry Music,
Mad Mike,
Erykah Badu,
Model 500,
E-Dancer,
Peter & Gordon,
Glenn Branca,
Symarip,
Organ,
Funky Four + One,
Matthew Bourne,
Accadde A,
Traffic Nightmare,
MDC,
8 Eyed Spy,
Quantec,
Ralphi Rosario,
Janne Schatter,
Deepchord,
Robert Hood,
Roxy Music,
Mission of Burma,
X-102,
Joe Finger,
Robert Wyatt,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.