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 United Kingdom and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1971.
I'm losing my edge.
To all the kids in Paris and Woodstock.
I'm losing my edge to the art-school London 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 Human League practice in a loft in Sheffield.
I was working on the güiro 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 Cabaret Voltaire 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 Eli Mardock. All the underground hits.
All The Names tracks. I heard you have a vinyl of every Jeff Mills 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 '60s cut and another box set from the '70s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Big Daddy Kane,
Glambeats Corp.,
Harpers Bizarre,
Marcia Griffiths,
Intrusion,
Johnny Osbourne,
Erasure,
Rakim,
Robert Görl,
The Kinks,
Sixth Finger,
F. McDonald,
John Foxx,
Roger Hodgson,
Bang On A Can,
The Gories,
Gil Scott Heron,
Subhumans,
Stiv Bators,
Bush Tetras,
Little Man,
Von Mondo,
Aural Exciters,
Lafayette Afro Rock Band,
Spandau Ballet,
Faraquet,
Richard Hell and the Voidoids,
Monolake,
Hot Snakes,
Fear,
Stetsasonic,
Man Eating Sloth,
The Fire Engines,
Hoover,
Ash Ra Tempel,
In Retrospect,
The Residents,
Kurtis Blow,
Bobby Hutcherson,
Moby Grape,
Q and Not U,
The Gladiators,
The Red Krayola,
Marmalade,
Darondo,
Moebius,
Man Parrish,
The Birthday Party,
T. Rex,
Delon & Dalcan,
The Peanut Butter Conspiracy,
The Gap Band,
10cc,
Moss Icon,
Reuben Wilson,
The Music Machine,
Gichy Dan,
Con Funk Shun,
the Germs,
Terrestrial Tones,
Yusef Lateef, Yusef Lateef, Yusef Lateef, Yusef Lateef.
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.