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 Madagascar and from Stockholm.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Lyon and Mexico City.
I'm losing my edge to the art-school Tokyo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator 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 Massinfluence to the crunk 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 Tim Buckley. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Vladislav Delay record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Sun Ra Arkestra record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
the Sonics,
Fad Gadget,
Jawbox,
The Black Dice,
Aswad,
Bronski Beat,
Yusef Lateef,
Tubeway Army,
The Pretty Things,
Arcadia,
Wolf Eyes,
The Gap Band,
Soul Sonic Force,
Jeru the Damaja,
Saccharine Trust,
Bill Near,
Graham Central Station,
Funky Four + One,
Faust,
Buzzcocks,
James White and The Blacks,
The Cure,
The Moody Blues,
Arab on Radar,
Terry Callier,
Shuggie Otis,
One Last Wish,
Kool G Rap & DJ Polo,
Barclay James Harvest,
Drive Like Jehu,
Bobby Hutcherson,
Make Up,
Fear,
Kayak,
Carl Craig,
Orchestral Manoeuvres in the Dark,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Harry Pussy,
The Doobie Brothers,
Lou Reed & Metallica,
Nico,
Ken Boothe,
Soft Machine,
Nation of Ulysses,
London Community Gospel Choir,
Spoonie Gee,
The Zeros,
Nick Cave & The Bad Seeds,
La Düsseldorf,
Pulsallama,
Hasil Adkins,
Neil Young & Crazy Horse,
The Invisible,
D'Angelo,
Crash Course in Science,
Slave,
Robert Wyatt,
Adolescents,
Arthur Verocai,
a-ha,
Pole,
Television, Television, Television, Television.
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.