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 Guinea and from Philadelphia.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Bologna and Lagos.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Little Man to the grunge 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 Arthur Verocai. All the underground hits.
All Radiopuhelimet tracks. I heard you have a vinyl of every The Knickerbockers record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
Babytalk,
Danielle Patucci,
Eric Copeland,
the Human League,
Electric Prunes,
Gil Scott-Heron & Brian Jackson,
Technova,
Radio Birdman,
Gichy Dan,
Jesper Dahlbäck,
Siglo XX,
Desert Stars,
Yellowson,
Sonic Youth,
Black Bananas,
Delon & Dalcan,
Deepchord,
Little Man,
Judy Mowatt,
Swell Maps,
Dorothy Ashby,
The J.B.'s,
Gil Scott Heron,
Marine Girls,
DeepChord presents Echospace,
Nick Cave & The Bad Seeds,
The Slackers,
Khruangbin,
Tears for Fears,
Urselle,
Gian Franco Pienzio,
Rowland S Howard / Lydia Lunch,
Godley & Creme,
X-102,
David Axelrod,
Nils Olav,
Camron Feat. Memphis Bleek And Beenie Seigel,
Susan Cadogan,
Popol Vuh,
Ajijia Myrayebe,
Ultravox,
Aloha Tigers,
Loose Ends,
Archie Shepp,
Simply Red,
Mark Hollis,
Eli Mardock,
Sam Rivers,
Whodini,
The Alarm Clocks,
Livin' Joy,
Erykah Badu,
Camron Feat. Jay Z And Juelz,
Faust,
Boz Scaggs,
Anthony Braxton,
Mary Jane Girls,
The Selecter,
Maleditus Sound,
Matthew Bourne,
Youth Brigade,
Zero Boys,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.