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 Tanzania and from Tehran.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Manchester.
I'm losing my edge to the art-school Edmonton 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 1973 at the first Television practice in a loft in New York.
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 Boz Scaggs to the grime kids.
I played it at the 40 Watt.
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 The Wake. All the underground hits.
All The Martian tracks. I heard you have a vinyl of every 48th St. Collective record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Sherman record.
I hear that you and your band have sold your rhodes and bought a guitar.
I hear that you and your band have sold your guitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
Joyce Sims,
Blancmange,
Shuggie Otis,
Stetsasonic,
8 Eyed Spy,
Prince Buster,
Jerry Gold Smith,
Little Man,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pylon,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Terrestrial Tones,
Hasil Adkins,
Glenn Branca,
Ponytail,
Kaleidoscope,
Deutsch Amerikanische Freundschaft,
In Retrospect,
Junior Murvin,
Gil Scott-Heron and Jamie xx,
Scrapy,
Lee Hazlewood,
Peter and Kerry,
Jeff Mills,
Fat Boys,
Carl Craig,
Make Up,
Gregory Isaacs,
FM Einheit,
The Names,
Charles Mingus,
Lyres,
The Residents,
Ten City,
Main Source,
Marc Almond,
Deadbeat,
Rahsaan Roland Kirk,
The Detroit Cobras,
Crime,
Kool Moe Dee,
Gil Scott Heron,
JFA,
Rowland S Howard / Lydia Lunch,
Vladislav Delay,
Quadrant,
Siglo XX,
Frankie Knuckles,
Lafayette Afro Rock Band,
Schoolly D,
Nation of Ulysses,
Suicide,
Symarip,
Ken Boothe,
the Slits,
Maurizio,
New York Dolls,
Peter & Gordon,
The Kinks, The Kinks, The Kinks, The Kinks.
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.