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 Nicaragua and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1966 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Woodstock.
I'm losing my edge to the art-school Lille 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 DeepChord presents Echospace to the grime kids.
I played it at CBGB's.
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 Litter. All the underground hits.
All The Sound tracks. I heard you have a vinyl of every Angry Samoans record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Martian,
Althea and Donna,
Rowland S Howard / Lydia Lunch,
Heavy D & The Boyz,
The Mojo Men,
Carl Craig,
Interpol,
Lungfish,
Eurythmics,
Wighnomy Brothers & Robag Wruhme,
Porter Ricks,
June Days,
The Mummies,
The Fire Engines,
The Trojans,
Marmalade,
Prince Buster,
Brothers Johnson,
T. Rex,
Bootsy's Rubber Band,
Trumans Water,
Tears for Fears,
U.S. Maple,
Patti Smith,
Ultimate Spinach,
Lebanon Hanover,
Al Stewart,
Susan Cadogan,
The Names,
Half Japanese,
AZ,
Vladislav Delay,
The Golliwogs,
Kool Moe Dee,
Index,
Gil Scott-Heron & Brian Jackson,
the Normal,
Amon Düül,
Funkadelic,
Hoover,
X-Ray Spex,
Sparks,
The Jesus and Mary Chain,
Bill Wells,
H. Thieme,
N.O.R.E. Featuring Pharrell,
Surgeon,
Wire,
Ituana,
Aaron Thompson,
Alphaville,
Gil Scott-Heron and Jamie xx,
Junior Murvin,
Eric B and Rakim,
Pole,
Steve Hackett,
Gregory Isaacs,
Essential Logic,
Pagans,
Mandrill,
Marc Romboy vs. Booka Shade,
Jesper Dahlbäck,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.