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 Slovakia and from Mexico City.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Glasgow.
I'm losing my edge to the art-school Seoul 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the marimba 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 Ultra Naté to the crunk kids.
I played it at Trash.
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 Kevin Saunderson. All the underground hits.
All Terrestrial Tones tracks. I heard you have a vinyl of every Moebius 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 '50s cut and another box set from the '70s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Residents,
Zapp,
Juan Atkins,
Barbara Tucker,
Dawn Penn,
kango's stein massive,
Delon & Dalcan,
Lalo Schifrin,
Deadbeat,
Unrelated Segments,
The Last Poets,
48th St. Collective,
ABC,
JFA,
Pharaoh Sanders and the Fire Engines,
Flash Fearless,
The Blackbyrds,
Radiopuhelimet,
Drexciya,
Flipper,
the Sonics,
Alphaville,
Shoche,
The Smiths,
Darondo,
Marmalade,
Japan,
Sister Nancy,
Ornette Coleman,
Traffic Nightmare,
Terrestrial Tones,
Mandrill,
Tears for Fears,
The Chocolate Watch Band,
The Smoke,
Grey Daturas,
The Zeros,
June of 44,
Aural Exciters,
Moss Icon,
Jeff Mills,
Justin Hinds & The Dominoes,
Icehouse,
DJ Style,
Robert Wyatt,
Nas,
The J.B.'s,
Bobby Womack,
Althea and Donna,
Eden Ahbez,
Sarah Menescal,
Be Bop Deluxe,
Avey Tare & Kría Brekkan,
Laurel Aitken,
The Busters,
The Human League,
The Index,
The Red Krayola,
Stetsasonic,
Kurtis Blow,
Sam Rivers,
Minny Pops,
Echospace, Echospace, Echospace, Echospace.
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.