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 Tajikistan and from London.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1972.
I'm losing my edge.
To all the kids in Mumbai and Lille.
I'm losing my edge to the art-school Cairo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum 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 Erykah Badu to the rap kids.
I played it at the Astoria.
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 Los Fastidios. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monks,
The Gap Band,
De La Soul & Jungle Brothers,
The Flesh Eaters,
Be Bop Deluxe,
Bang On A Can,
Nation of Ulysses,
Archie Shepp,
DJ Style,
Marc Romboy vs. Booka Shade,
Rufus Thomas,
The Neon Judgement,
Ornette Coleman,
Masters at Work,
Thee Headcoats,
Gregory Isaacs,
Adolescents,
Simply Red,
Pete Rock & C.L. Smooth,
Aaron Thompson,
Minnie Riperton,
Man Eating Sloth,
Livin' Joy,
Magazine,
Moby Grape,
Quando Quango,
Girls At Our Best!,
The Gun Club,
Anthony Braxton,
The Standells,
The Techniques,
Dark Day,
Arab on Radar,
Judy Mowatt,
Rod Modell,
the Slits,
Gary Puckett & The Union Gap,
Radiohead,
cv313,
Roy Ayers Ubiquity,
Peter and Kerry,
X-Ray Spex,
The Modern Lovers,
Gabor Szabo,
Yusef Lateef,
D'Angelo,
Swans,
Procol Harum,
The Golliwogs,
Moebius,
Bluetip,
The Pop Group,
Duran Duran,
Hardrive,
Notorious BIG live in Amsterdam,
Kool Moe Dee,
Main Source,
Kaleidoscope,
Royal Trux,
Derrick May,
Lyres,
Sonic Youth,
Blancmange,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.