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 Mongolia and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1963 to 1971.
I'm losing my edge.
To all the kids in London and Copenhagen.
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 1983 at the first Art of Noise practice in a loft in London.
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 Sixth Finger to the jazz 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 Byron Stingily. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every The Knickerbockers record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s 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 Man Eating Sloth record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
The Victims,
Slick Rick,
Kool G Rap & DJ Polo,
Oblivians,
Kevin Saunderson,
Bang On A Can,
The Cosmic Jokers,
Sunsets and Hearts,
Teenage Jesus and the Jerks,
Jawbox,
The Invisible,
Todd Terry,
Agent Orange,
The Shadows of Knight,
Sandy B,
Aaron Thompson,
Black Pus,
Robert Wyatt,
Andrew Ashong & Theo Parrish,
Outsiders,
Gabor Szabo,
Reagan Youth,
Newcleus,
Malaria!,
The Jesus and Mary Chain,
Masters at Work,
Siglo XX,
Grauzone,
U.S. Maple,
Soul II Soul,
The Neon Judgement,
Althea and Donna,
Isaac Hayes,
Ponytail,
Rekid,
Camberwell Now,
Michelle Simonal,
Donny Hathaway,
the Association,
Shoche,
Easy Going,
Black Moon,
Animal Collective,
James White and The Blacks,
AZ,
Nas,
Junior Murvin,
Hasil Adkins,
FM Einheit,
Groovy Waters,
X-101,
Soft Machine,
Marine Girls,
Bob Dylan,
Saccharine Trust,
Sonic Youth,
Circle Jerks,
David Bowie,
Blossom Toes,
The Gories,
Fatback Band,
Niagra,
Deepchord,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.