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 Austria and from Cairo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1969 to 1974.
I'm losing my edge.
To all the kids in Salvador and Portland.
I'm losing my edge to the art-school Manila 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 1976 at the first Chic practice in a loft in New York.
I was working on the marimba 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 Cybotron 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 Gil Scott Heron. All the underground hits.
All Crispian St. Peters tracks. I heard you have a vinyl of every The Offenders record on German import.
I heard that you have a white label of every seminal grime 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 guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rites of Spring,
Bang On A Can,
The Toasters,
Vladislav Delay,
Monolake,
Captain Beefheart & His Magic Band,
Teenage Jesus and the Jerks,
X-102,
Marine Girls,
Sun City Girls,
Nas,
Main Source,
Rakim,
Crime,
The West Coast Pop Art Experimental Band,
Cheater Slicks,
Cymande,
Moss Icon,
Pole,
Dawn Penn,
Pete Rock & C.L. Smooth,
Can,
Danielle Patucci,
Livin' Joy,
The Pop Group,
Ituana,
Warsaw,
Blancmange,
Orchestral Manoeuvres in the Dark,
Rod Modell,
Liaisons Dangereuses,
Funky Four + One,
World's Most,
U.S. Maple,
Porter Ricks,
Crispy Ambulance,
Fatback Band,
Matthew Bourne,
Radio Birdman,
Jerry Gold Smith,
The Smiths,
The Count Five,
Little Man,
Qualms,
The Wake,
Swell Maps,
Scan 7,
Bush Tetras,
the Human League,
cv313,
Notorious Big And Bone Thugs,
Dead Boys,
Neu!,
Jacob Miller,
Fear,
Moebius,
Ultramagnetic MC's,
Second Layer,
Anthony Braxton,
Radiohead,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.