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 Uruguay and from Mexico City.
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 1973.
I'm losing my edge.
To all the kids in Johannesburg and Johannesburg.
I'm losing my edge to the art-school Houston 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the 808 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 Soft Machine to the punk kids.
I played it at the Spitz.
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 Panda Bear. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every the Fania All-Stars record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Sneak,
Moebius,
Donald Byrd,
Red Lorry Yellow Lorry,
Gastr Del Sol,
The United States of America,
Angels of Light & Akron/Family,
Crime,
Fat Boys,
Suicide,
The Saints,
The Fall,
Arab on Radar,
Funky Four + One,
The Gap Band,
Lee Hazlewood,
the Normal,
Fluxion,
H. Thieme,
Dennis Brown,
Gian Franco Pienzio,
Gregory Isaacs,
Moby Grape,
Joey Negro,
Cabaret Voltaire,
The Smiths,
Gang of Four,
Sly & The Family Stone,
Panda Bear,
John Coltrane,
Boz Scaggs,
The Leaves,
the Human League,
David McCallum,
The Velvet Underground,
K-Klass,
Desert Stars,
Soul II Soul,
Gil Scott Heron,
The Standells,
Stiv Bators,
The Young Rascals,
Audionom,
Surgeon,
Soul Sonic Force,
Thee Headcoats,
Radiohead,
The Mojo Men,
Country Teasers,
The Busters,
Lalann,
Scott Walker,
Underground Resistance,
Sight & Sound,
Mars,
Röyhkä ja Rättö ja Lehtisalo,
Sound Behaviour,
Kevin Saunderson,
The Raincoats,
Trumans Water,
Tomorrow,
Kayak,
Man Parrish,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.