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 Turkmenistan and from Delhi.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1971.
I'm losing my edge.
To all the kids in Manchester and Edmonton.
I'm losing my edge to the art-school Houston 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the synthesizer 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 Jacob Miller to the jazz kids.
I played it at the Astoria.
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 Prince Buster. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every World's Most 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 '70s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grauzone,
Gil Scott Heron,
Ronan,
Deakin,
Brass Construction,
Sparks,
Sight & Sound,
Lou Christie,
Sticky Fingaz feat. Raekwon,
Popol Vuh,
Grandmaster Flash,
Nils Olav,
the Bar-Kays,
The Buckinghams,
The Leaves,
Flamin' Groovies,
Anthony Braxton,
Isaac Hayes,
Heavy D & The Boyz,
Jerry's Kids,
Nik Kershaw,
Iggy Pop,
AZ,
Gabor Szabo,
Richard Hell and the Voidoids,
Boogie Down Productions,
Rosa Yemen,
LL Cool J,
Harry Pussy,
Ohio Players,
The Dead C,
Ajijia Myrayebe,
the Association,
The J.B.'s,
Oneida,
Liaisons Dangereuses,
8 Eyed Spy,
Frankie Knuckles,
Marshall Jefferson,
Arab on Radar,
Rekid,
Beasts of Bourbon,
Kurtis Blow,
Eric Dolphy,
Black Sheep,
Parry Music,
Notorious Big And Bone Thugs,
Ralphi Rosario,
Stiv Bators,
X-Ray Spex,
Hardrive,
Gil Scott-Heron & Brian Jackson,
Aloha Tigers,
Tim Buckley,
Eddi Front,
Public Image Ltd.,
Cal Tjader,
Soft Machine,
Massinfluence,
The Birthday Party,
John Lydon,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.