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 Lebanon and from Madrid.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Madrid and Hong Kong.
I'm losing my edge to the art-school Paris 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 harpsichord 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 Aswad to the crunk kids.
I played it at CBGB's.
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 Grandmaster Flash. All the underground hits.
All Clear Light tracks. I heard you have a vinyl of every Liaisons Dangereuses record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sam Rivers record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
ABBA,
Grey Daturas,
Funkadelic,
Mark Hollis,
Rapeman,
Kauko Röyhkä ja Narttu,
Roy Ayers Ubiquity,
K-Klass,
Heavy D & The Boyz,
Dawn Penn,
Vainqueur,
MDC,
Lou Reed & John Cale,
Kevin Saunderson,
Dorothy Ashby,
The Index,
Dave Gahan,
Fluxion,
Joe Finger,
Outsiders,
The Martian,
The Real Kids,
Throbbing Gristle,
Liaisons Dangereuses,
Sam Rivers,
Kas Product,
Howard Jones,
Monks,
Fela Kuti,
Pete Rock & C.L. Smooth,
UT,
Colin Newman,
The Jesus and Mary Chain,
Fat Boys,
Sad Lovers and Giants,
Barry Ungar,
Teenage Jesus and the Jerks,
Oblivians,
Qualms,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Blancmange,
Kayak,
Joyce Sims,
E-Dancer,
the Fania All-Stars,
Average White Band,
The Fall,
Rufus Thomas,
Can,
the Bar-Kays,
X-101,
The Doors,
Neil Young,
CMW,
Khruangbin,
Arthur Verocai,
Marmalade,
Sparks, Sparks, Sparks, Sparks.
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.