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 Nauru and from Paris.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Lagos.
I'm losing my edge to the art-school Philadelphia 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 1976 at the first Buzzcocks practice in a loft in Bolton.
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 Eric Copeland to the disco kids.
I played it at the Hacienda.
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 Alice Coltrane. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal rap 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 chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Big Daddy Kane,
David Axelrod,
The Smoke,
Eric Copeland,
kango's stein massive,
Fear,
Maurizio,
Carl Craig,
Sister Nancy,
H. Thieme,
PIL,
Wally Richardson,
KRS-One,
Notorious BIG live in Amsterdam,
Peter and Kerry,
Judy Mowatt,
The Offenders,
Masters at Work,
Rod Modell,
Kenny Larkin,
The Jesus and Mary Chain,
Brothers Johnson,
Franke,
Sandy B,
Morten Harket,
Kevin Saunderson,
Circle Jerks,
Roy Ayers Ubiquity,
Saccharine Trust,
Joe Finger,
DNA,
Audionom,
Lakeside,
The Wake,
Sun City Girls,
Eddi Front,
Interpol,
Can,
David McCallum,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Von Mondo,
Lalo Schifrin,
Jerry Gold Smith,
Stockholm Monsters,
Adolescents,
Howard Jones,
Radiopuhelimet,
R.M.O.,
Crispian St. Peters,
Radiohead,
June Days,
Tom Boy,
Max Romeo,
Bizarre Inc.,
Andrew Hill,
D'Angelo,
Tomorrow,
Japan,
X-102,
Loose Ends,
Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx.
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.