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 Malta and from Edmonton.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Calgary.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 Moss Icon to the grime kids.
I played it at the Troubador.
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 Scratch Acid. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Fifty Foot Hose 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 '70s cut and another box set from the '90s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
kango's stein massive,
The Gun Club,
The Zeros,
Thinking Fellers Union Local 282,
Matthew Halsall,
The Remains,
Glambeats Corp.,
Bizarre Inc.,
The Gories,
Mo-Dettes,
Lou Christie,
the Sonics,
The Slits,
Traffic Nightmare,
The West Coast Pop Art Experimental Band,
The Electric Prunes,
Gil Scott Heron,
Bluetip,
Mandrill,
Cal Tjader,
Angels of Light & Akron/Family,
Pagans,
The Pop Group,
Gil Scott-Heron and Jamie xx,
A Flock of Seagulls,
Drexciya,
Kaleidoscope,
Swell Maps,
Monolake,
Arcadia,
Gong,
Magazine,
Frankie Knuckles,
Liaisons Dangereuses,
The Music Machine,
John Foxx,
Nick Fraelich,
Motorama,
Joy Division,
Japan,
Dead Boys,
Amon Düül II,
The Names,
Arthur Verocai,
Essential Logic,
John Holt,
The Five Americans,
The Gladiators,
Tommy Roe,
Darondo,
The Vogues,
Saccharine Trust,
U.S. Maple,
Faraquet,
Notorious Big And Bone Thugs,
Derrick May,
The Moody Blues,
The Velvet Underground,
The Index,
Sister Nancy,
Yusef Lateef,
Symarip,
Lyres,
Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth.
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.