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 Micronesia and from Paris.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Philadelphia.
I'm losing my edge to the art-school New York 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 The Martian to the electroclash kids.
I played it at the Spitz.
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 Model 500. All the underground hits.
All Q and Not U tracks. I heard you have a vinyl of every Gil Scott Heron record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unrelated Segments,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Easy Going,
Banda Bassotti,
The Litter,
The Doobie Brothers,
The Vogues,
The Walker Brothers,
Shoche,
Drexciya,
Q and Not U,
Ultramagnetic MC's,
Thinking Fellers Union Local 282,
KRS-One,
The Invisible,
Depeche Mode,
Terrestrial Tones,
New Age Steppers,
Monolake,
Scion,
Symarip,
This Heat,
Amon Düül II,
A Certain Ratio,
Vainqueur,
Andrew Hill,
Stereo Dub,
Man Eating Sloth,
Gang Green,
The Pop Group,
Scan 7,
Faraquet,
Michelle Simonal,
Bill Wells,
London Community Gospel Choir,
Talk Talk,
Wally Richardson,
Amazonics,
Ultravox,
Sugar Minott,
Arcadia,
The Dead C,
Goldenarms,
Patti Smith,
The Evens,
Selector Dub Narcotic,
cv313,
The Moody Blues,
Moebius,
Louis and Bebe Barron,
Sister Nancy,
John Holt,
The Standells,
Funkadelic,
Susan Cadogan,
Ultra Naté,
Sly & The Family Stone,
Robert Görl,
The Five Americans,
Urselle,
kango's stein massive,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.