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 Kuwait and from Mexico City.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1962 to 1976.
I'm losing my edge.
To all the kids in Lagos and Columbus.
I'm losing my edge to the art-school Hong Kong 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 sitar 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 Tears for Fears to the funk kids.
I played it at Cafe Wha.
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 Underground Resistance. All the underground hits.
All Little Man tracks. I heard you have a vinyl of every Khruangbin 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 marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rosa Yemen,
Arthur Verocai,
James White and The Blacks,
The Sound,
Todd Rundgren,
The Sisters of Mercy,
Tommy Roe,
Royal Trux,
DJ Style,
The Mighty Diamonds,
Soft Machine,
Magma,
Silicon Teens,
ABC,
Davy DMX,
The Associates,
Bobby Byrd,
T.S.O.L.,
Brick,
The West Coast Pop Art Experimental Band,
Swell Maps,
The Fall,
Parry Music,
Joensuu 1685,
John Cale,
The Index,
Rod Modell,
The Gap Band,
Laurel Aitken,
Deakin,
Terry Callier,
Pharoah Sanders,
Stiv Bators,
Wolf Eyes,
Eden Ahbez,
The Alarm Clocks,
Donald Byrd,
Schoolly D,
Pantytec,
Dorothy Ashby,
The Knickerbockers,
Matthew Bourne,
Absolute Body Control,
Goldenarms,
Audionom,
Ralphi Rosario,
Ronnie Foster,
the Sonics,
It's A Beautiful Day,
The Durutti Column,
Fifty Foot Hose,
Sunsets and Hearts,
Lalo Schifrin,
The Walker Brothers,
Howard Jones,
Lou Reed & Metallica,
Quando Quango,
Sonic Youth,
Byron Stingily,
The Seeds,
The Cosmic Jokers,
Funkadelic,
Susan Cadogan,
Main Source, Main Source, Main Source, Main Source.
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.