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 Panama and from Portland.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Houston and Columbus.
I'm losing my edge to the art-school Cairo 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin 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 Justin Hinds & The Dominoes to the crunk kids.
I played it at the 40 Watt.
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 Audionom. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Soul II Soul record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Darondo record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
The Mummies,
Dorothy Ashby,
Bootsy's Rubber Band,
Yusef Lateef,
8 Eyed Spy,
Orchestral Manoeuvres in the Dark,
Althea and Donna,
Country Teasers,
Loose Ends,
The Durutti Column,
Sexual Harrassment,
Minnie Riperton,
The Happenings,
Fela Kuti,
Young Marble Giants,
MDC,
Johnny Osbourne,
Tears for Fears,
The Fire Engines,
Roxy Music,
Pussy Galore,
The Toasters,
The Move,
Junior Murvin,
Letta Mbulu,
Fifty Foot Hose,
Popol Vuh,
The Fortunes,
Sunsets and Hearts,
The Music Machine,
Black Bananas,
Mars,
The Human League,
Ornette Coleman,
DNA,
Easy Going,
Toni Rubio,
Selector Dub Narcotic,
Ludus,
Byron Stingily,
Soulsonic Force,
Pierre Henry,
the Slits,
Suburban Knight,
Notorious BIG live in Amsterdam,
Funky Four + One,
Public Enemy,
John Holt,
Arcadia,
Los Fastidios,
The Associates,
Swans,
Ronan,
Morten Harket,
JFA,
The Monks,
Talk Talk,
Eurythmics,
Thee Headcoats,
Gregory Isaacs,
Andrew Ashong & Theo Parrish,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.