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 Switzerland and from Milan.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Columbus.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the snare 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 Brass Construction to the grime kids.
I played it at Trash.
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 Nik Kershaw. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every Spandau Ballet 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 '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear that you and your band have sold your oboe 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?
Kenny Larkin,
Camron Feat. Jay Z And Juelz,
The Durutti Column,
Matthew Bourne,
Juan Atkins,
Boredoms,
Infiniti,
The Cosmic Jokers,
The Music Machine,
Boogie Down Productions,
The United States of America,
Sonic Youth,
Freddie Wadling,
The Five Americans,
Sad Lovers and Giants,
Severed Heads,
Minor Threat,
Robert Görl,
Crispian St. Peters,
the Slits,
Scientists,
The Men They Couldn't Hang,
D'Angelo,
Delta 5,
The Fortunes,
Andrew Ashong & Theo Parrish,
Nation of Ulysses,
Lou Reed & John Cale,
Public Enemy,
The Knickerbockers,
Jesper Dahlback,
Gong,
Camberwell Now,
Kayak,
Surgeon,
Public Image Ltd.,
Masters at Work,
cv313,
Negative Approach,
the Association,
The Chocolate Watch Band,
Major Organ And The Adding Machine,
The Stooges,
Grey Daturas,
Howard Jones,
Gang Starr,
Hardrive,
The Moleskins,
Monolake,
Newcleus,
Idris Muhammad,
Frankie Knuckles,
Aloha Tigers,
Basic Channel,
Derrick Morgan,
Gary Puckett & The Union Gap,
The J.B.'s,
Spandau Ballet,
Au Pairs,
Cabaret Voltaire,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.