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 Mongolia and from Madrid.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1971.
I'm losing my edge.
To all the kids in Paris and Philadelphia.
I'm losing my edge to the art-school Bremen 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 arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Model 500 to the grime 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 The Walker Brothers. All the underground hits.
All Ralphi Rosario tracks. I heard you have a vinyl of every Fifty Foot Hose record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
U.S. Maple,
The J.B.'s,
Lou Reed & John Cale,
Magma,
Rakim,
Eden Ahbez,
Derrick Morgan,
Joe Finger,
Flamin' Groovies,
Crash Course in Science,
Technova,
The Standells,
The Gun Club,
Newcleus,
Kango’s Stein Massive,
Cameo,
Fat Boys,
Josef K,
Glambeats Corp.,
X-102,
MC5,
The Tremeloes,
Aloha Tigers,
Pantytec,
Roy Ayers,
Banda Bassotti,
DJ Style,
Black Bananas,
Can,
Outsiders,
Moss Icon,
the Human League,
Von Mondo,
Public Image Ltd.,
Derrick May,
Eric Dolphy,
Massinfluence,
Gang of Four,
EPMD,
Vladislav Delay,
Lonnie Liston Smith,
Angels of Light & Akron/Family,
Lalo Schifrin,
Trumans Water,
Archie Shepp,
Sällskapet,
Kerrie Biddell,
Minnie Riperton,
DeepChord presents Echospace,
Visage,
Bang on a Can All-Stars,
Donald Byrd,
Jimmy McGriff,
Selector Dub Narcotic,
Charles Mingus,
Art Ensemble Of Chicago,
Peter & Gordon,
The Royal Family And The Poor,
Buzzcocks,
A Flock of Seagulls,
Ultravox,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.