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 Turkey and from Shanghai.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Lagos.
I'm losing my edge to the art-school Edmonton 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 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Main Source to the dance 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 Lalo Schifrin. All the underground hits.
All Tropical Tobacco tracks. I heard you have a vinyl of every Wighnomy Brothers & Robag Wruhme record on German import.
I heard that you have a white label of every seminal disco 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 snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kas Product,
CMW,
Saccharine Trust,
Pete Rock & C.L. Smooth,
Lalann,
Byron Stingily,
The Trojans,
Blake Baxter,
Radiohead,
Motorama,
Danielle Patucci,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rites of Spring,
Boredoms,
Trumans Water,
Maleditus Sound,
The Dead C,
Suburban Knight,
Inner City,
Crime,
Heaven 17,
Shuggie Otis,
The Divine Comedy,
New York Dolls,
Cluster,
Electric Light Orchestra,
Eddi Front,
Stockholm Monsters,
Kerrie Biddell,
The Techniques,
Sonny Sharrock,
Icehouse,
Minor Threat,
Roy Ayers,
T. Rex,
Qualms,
The Angels of Light,
Ultravox,
Slick Rick,
Maurizio,
Jeff Mills,
Henry Cow,
Marc Almond,
Tim Buckley,
Theoretical Girls,
Orchestral Manoeuvres in the Dark,
UT,
The Doors,
Frankie Knuckles,
Joe Smooth,
Reuben Wilson,
Public Enemy,
Yaz,
Deepchord,
Archie Shepp,
Ten City,
Spandau Ballet,
Grey Daturas,
Connie Case,
Camouflage,
The Five Americans,
Jesper Dahlback,
Joey Negro, Joey Negro, Joey Negro, Joey Negro.
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.