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 New Zealand and from Woodstock.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Shanghai.
I'm losing my edge to the art-school Madrid 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 marimba 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 Dennis Brown to the punk kids.
I played it at the Crocodile.
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 Goldenarms. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every Yazoo record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Byrd record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
The West Coast Pop Art Experimental Band,
Schoolly D,
Oppenheimer Analysis,
Red Lorry Yellow Lorry,
Mars,
De La Soul & Jungle Brothers,
Röyhkä ja Rättö ja Lehtisalo,
Mad Mike,
Radio Birdman,
The Techniques,
Unrelated Segments,
Stockholm Monsters,
Notorious BIG live in Amsterdam,
Bronski Beat,
T.S.O.L.,
Quadrant,
Pierre Henry,
James White and The Blacks,
Roxy Music,
Zero Boys,
FM Einheit,
Ituana,
Essential Logic,
LL Cool J,
Loose Ends,
Black Sheep,
Funkadelic,
the Association,
Lalo Schifrin,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lebanon Hanover,
Young Marble Giants,
Curtis Mayfield,
Iggy Pop,
Zapp,
The Fall,
The Martian,
Yusef Lateef,
Avey Tare,
H. Thieme,
The Music Machine,
Stetsasonic,
Byron Stingily,
Animal Collective,
Joe Finger,
Siouxsie and the Banshees,
The Pop Group,
X-101,
Dorothy Ashby,
Accadde A,
Electric Light Orchestra,
The Wake,
The Move,
Y Pants,
Gil Scott-Heron & Brian Jackson,
Anakelly,
Idris Muhammad,
Duran Duran,
Echospace,
Scan 7, Scan 7, Scan 7, Scan 7.
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.