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 Mali and from Woodstock.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Manchester and Tehran.
I'm losing my edge to the art-school Seoul 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the oboe sounds with much patience.
I was there when Nile Rodgers 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 Massinfluence to the funk 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 Ohio Players. All the underground hits.
All Jimmy McGriff tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal techno 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 chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Index record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moss Icon,
Mark Hollis,
Curtis Mayfield,
Davy DMX,
Rakim,
Ken Boothe,
Porter Ricks,
Oneida,
The Sound,
Tim Buckley,
Dawn Penn,
Jeff Lynne,
Black Sheep,
Art Ensemble Of Chicago,
Andrew Hill,
Gong,
Kauko Röyhkä ja Narttu,
Beasts of Bourbon,
The Motions,
Negative Approach,
The Toasters,
Gichy Dan,
Reagan Youth,
Boredoms,
Derrick May,
Tres Demented,
Cymande,
In Retrospect,
Radiopuhelimet,
Grauzone,
The Slits,
Eden Ahbez,
Althea and Donna,
Tears for Fears,
The Barracudas,
Jacques Brel,
Radio Birdman,
Pylon,
The Blackbyrds,
Public Image Ltd.,
Monks,
Gang of Four,
Ultravox,
Barclay James Harvest,
Gregory Isaacs,
Harry Pussy,
Neu!,
Jeff Mills,
The Gladiators,
Livin' Joy,
Wally Richardson,
Crash Course in Science,
Technova,
Freddie Wadling,
Joey Negro,
Fluxion,
R.M.O.,
Ituana,
Deadbeat,
Can,
The Black Dice,
Delta 5,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.