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 Spain and from Seoul.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1962 to 1976.
I'm losing my edge.
To all the kids in New York and Milan.
I'm losing my edge to the art-school Beijing 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 1984 at the first Arcadia practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Robert Palmer 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 Public Enemy to the rap kids.
I played it at Cafe Wha.
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 Hashim. All the underground hits.
All Intrusion tracks. I heard you have a vinyl of every John Holt record on German import.
I heard that you have a white label of every seminal crunk 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 sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a E-Dancer record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Last Poets,
cv313,
The Modern Lovers,
The Cramps,
Eve St. Jones,
Andrew Ashong & Theo Parrish,
The Evens,
Glambeats Corp.,
Faust,
Bluetip,
Ultravox,
The Victims,
Boogie Down Productions,
Amazonics,
Hasil Adkins,
Visionaries,LMNO, T- Love & Iriscience,
Deepchord,
Nils Olav,
Livin' Joy,
Kerrie Biddell,
Echo & the Bunnymen,
Andrew Hill,
De La Soul & Jungle Brothers,
The Sound,
Liliput,
DJ Style,
Soft Cell,
The Tremeloes,
Spoonie Gee,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Negative Approach,
Roy Ayers Ubiquity,
It's A Beautiful Day,
Tim Buckley,
The Human League,
Curtis Mayfield,
Althea and Donna,
John Foxx,
Franke,
The Wake,
Funkadelic,
The Men They Couldn't Hang,
Gian Franco Pienzio,
Jerry's Kids,
Howard Jones,
Eurythmics,
The Black Dice,
The Names,
Talk Talk,
Anthony Braxton,
Thee Headcoats,
Absolute Body Control,
Bootsy's Rubber Band,
Strawberry Alarm Clock,
This Heat,
Peter and Kerry,
Fort Wilson Riot,
Brass Construction,
Ultra Naté,
Prince Buster,
Eric B and Rakim,
Accadde A,
Black Moon,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.