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 Venezuela and from Houston.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Accra and Portland.
I'm losing my edge to the art-school Salvador 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator 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 Roxy Music to the grime 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 The Golliwogs. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every The Gories record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monolake,
Minor Threat,
Vaughan Mason & Crew,
The Human League,
Josef K,
The Names,
New Age Steppers,
Malaria!,
Unwound,
Maurizio,
Aaron Thompson,
Nick Cave & The Bad Seeds,
Alphaville,
Masters at Work,
Bluetip,
Crash Course in Science,
Rotary Connection,
The J.B.'s,
Parry Music,
The Searchers,
Letta Mbulu,
Pet Shop Boys,
Oppenheimer Analysis,
The Moody Blues,
Liaisons Dangereuses,
Gang Green,
Y Pants,
Supertramp,
Delon & Dalcan,
FM Einheit,
The Music Machine,
Gil Scott-Heron and Jamie xx,
A Certain Ratio,
June Days,
Q and Not U,
Sixth Finger,
Terrestrial Tones,
CMW,
Pete Rock & C.L. Smooth,
Quadrant,
Joey Negro,
Freddie Wadling,
Bobby Byrd,
Bobby Womack,
Black Pus,
Half Japanese,
Deadbeat,
Camron Feat. Memphis Bleek And Beenie Seigel,
Mantronix,
T.S.O.L.,
Ken Boothe,
Mo-Dettes,
The Cosmic Jokers,
Fad Gadget,
Lightning Bolt,
Vladislav Delay,
The Mojo Men,
The West Coast Pop Art Experimental Band,
Lucky Dragons,
Nas, Nas, Nas, Nas.
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.