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 Nigeria and from Houston.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Portland.
I'm losing my edge to the art-school Lyon 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 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 Duran Duran to the techno kids.
I played it at the Roxy.
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 The Selecter. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every Archie Shepp record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your 808 and bought an oboe.
I hear that you and your band have sold your oboe and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Audionom,
Black Bananas,
Harry Pussy,
Man Parrish,
DeepChord presents Echospace,
Pete Rock & C.L. Smooth,
Terrestrial Tones,
Sight & Sound,
Jacques Brel,
Gerry Rafferty,
Nik Kershaw,
Silicon Teens,
The Invisible,
Althea and Donna,
Bobby Womack,
The Electric Prunes,
Fat Boys,
Mad Mike,
Ken Boothe,
Gil Scott-Heron and Jamie xx,
Colin Newman,
Pantytec,
Cluster,
8 Eyed Spy,
Avey Tare & Kría Brekkan,
Ornette Coleman,
Lightning Bolt,
Slave,
Chris & Cosey,
Thinking Fellers Union Local 282,
Cal Tjader,
ABC,
The Mojo Men,
Yellowson,
Model 500,
June of 44,
Gabor Szabo,
Rufus Thomas,
Japan,
Marcia Griffiths,
Motorama,
Vainqueur,
Agitation Free,
Oppenheimer Analysis,
Minutemen,
Junior Murvin,
Fifty Foot Hose,
Jesper Dahlbäck,
Camberwell Now,
The Count Five,
Black Pus,
Grey Daturas,
Arthur Verocai,
The Modern Lovers,
Bad Manners,
Delon & Dalcan,
Soft Machine,
Fluxion,
Kayak,
Rowland S Howard / Lydia Lunch,
Interpol,
EPMD,
Tommy Roe,
Pylon, Pylon, Pylon, Pylon.
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.