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 Gambia and from Portland.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Houston and Milan.
I'm losing my edge to the art-school Toronto 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 The Techniques to the grime kids.
I played it at the Hacienda.
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 Justin Hinds & The Dominoes. All the underground hits.
All Joy Division tracks. I heard you have a vinyl of every Roy Ayers Ubiquity record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
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 Skarface record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
a-ha,
Fort Wilson Riot,
Eurythmics,
Talk Talk,
Black Sheep,
Warren Ellis,
Depeche Mode,
Notorious BIG live in Amsterdam,
Minnie Riperton,
Pharoah Sanders,
Terrestrial Tones,
the Fania All-Stars,
Adolescents,
the Association,
T. Rex,
Howard Jones,
Marine Girls,
Trumans Water,
Lou Christie,
Bootsy Collins,
48th St. Collective,
Red Lorry Yellow Lorry,
Rakim,
The Count Five,
Heavy D & The Boyz,
Franke,
The Electric Prunes,
Lebanon Hanover,
World's Most,
Althea and Donna,
Icehouse,
Robert Görl,
Graham Central Station,
Bill Near,
T.S.O.L.,
Mr. Review,
Notorious Big And Bone Thugs,
Khruangbin,
Gastr Del Sol,
Livin' Joy,
Warsaw,
Monolake,
Pharaoh Sanders and the Fire Engines,
Rahsaan Roland Kirk,
Q65,
Joensuu 1685,
the Human League,
Sällskapet,
The Zeros,
Godley & Creme,
Panda Bear,
Quando Quango,
Sight & Sound,
Mo-Dettes,
Man Eating Sloth,
The Last Poets,
The Associates,
Infiniti,
Underground Resistance,
Fear,
Soft Machine,
Arab on Radar,
Arthur Verocai,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.