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 Indonesia and from Lille.
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 1972.
I'm losing my edge.
To all the kids in Mumbai and Hong Kong.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the spring reverb 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 Brass Construction to the grunge 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 Avey Tare. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every Robert Wyatt 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 '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Suburban Knight record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Sneak,
Black Bananas,
Hashim,
Moebius,
The Evens,
Siglo XX,
Rhythm & Sound,
Marcia Griffiths,
Girls At Our Best!,
The Fortunes,
Kool Moe Dee,
The Flesh Eaters,
the Slits,
Avey Tare & Kría Brekkan,
Roxy Music,
Delon & Dalcan,
Unrelated Segments,
Captain Beefheart & His Magic Band,
Jacob Miller,
Zero Boys,
The Doors,
Ronnie Foster,
X-101,
Avey Tare,
The Moody Blues,
The Detroit Cobras,
DNA,
Glambeats Corp.,
The Selecter,
Young Marble Giants,
The Red Krayola,
The Cramps,
Manfred Mann's Earth Band,
Schoolly D,
Wally Richardson,
The Trojans,
David Axelrod,
Black Sheep,
Q and Not U,
John Foxx,
AZ,
Stiv Bators,
Black Pus,
Echo & the Bunnymen,
Chrome,
the Bar-Kays,
Don Cherry,
Notorious Big And Bone Thugs,
Crispy Ambulance,
CMW,
The Sonics,
Fugazi,
Deakin,
Angels of Light & Akron/Family,
Darondo,
Gary Puckett & The Union Gap,
Bootsy Collins,
Cameo,
Sight & Sound,
Whodini,
Eric B and Rakim,
Stereo Dub,
Archie Shepp,
The Birthday Party, The Birthday Party, The Birthday Party, The Birthday Party.
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.