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 Bhutan and from Houston.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Shanghai and Salvador.
I'm losing my edge to the art-school Lille 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 Zapp practice in a loft in Hamilton.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 Barbara Tucker to the techno 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 Swans. All the underground hits.
All X-Ray Spex tracks. I heard you have a vinyl of every The Wake record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
Lucky Dragons,
Fatback Band,
Bobby Womack,
48th St. Collective,
Traffic Nightmare,
D'Angelo,
Aswad,
The Names,
Hasil Adkins,
Fela Kuti,
Technova,
Neu!,
Visage,
DeepChord presents Echospace,
Tommy Roe,
Curtis Mayfield,
Leonard Cohen,
Mo-Dettes,
Alton Ellis,
Juan Atkins,
Heavy D & The Boyz,
Japan,
Cecil Taylor,
The Cosmic Jokers,
Circle Jerks,
Letta Mbulu,
The Neon Judgement,
Alison Limerick,
F. McDonald,
Skriet,
Index,
Saccharine Trust,
Derrick Morgan,
Interpol,
Talk Talk,
The Wake,
Todd Rundgren,
Rhythim Is Rhythim,
This Heat,
London Community Gospel Choir,
KRS-One,
Icehouse,
Nick Fraelich,
Ken Boothe,
Jawbox,
Michelle Simonal,
Fear,
June Days,
Matthew Halsall,
Rapeman,
Pantytec,
Silicon Teens,
Marshall Jefferson,
LL Cool J,
Massinfluence,
Niagra,
Kerrie Biddell,
Darondo,
Lower 48,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.