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 Belize and from Tokyo.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Taipei and Seoul.
I'm losing my edge to the art-school Sao Paulo 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin 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 Idris Muhammad to the techno kids.
I played it at the Troubador.
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 Joyce Sims. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Radiohead record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythim Is Rhythim,
Alison Limerick,
Easy Going,
Matthew Bourne,
Rhythm & Sound,
Fat Boys,
Smog,
The Busters,
The Chocolate Watch Band,
Siouxsie and the Banshees,
The Fall,
The Cowsills,
The Men They Couldn't Hang,
Gichy Dan,
The Five Americans,
Neil Young & Crazy Horse,
Marine Girls,
Joyce Sims,
The Moleskins,
Zapp,
Blancmange,
The Sound,
Soft Machine,
Zero Boys,
DNA,
T.S.O.L.,
Lou Reed & John Cale,
Art Ensemble Of Chicago,
Goldenarms,
Peter and Kerry,
Arthur Verocai,
Bobby Byrd,
Amazonics,
Heaven 17,
Terror Squad Feat. Camron,
Panda Bear,
Kenny Larkin,
Scratch Acid,
Bobby Sherman,
Jacques Brel,
Roy Ayers Ubiquity,
Q65,
Stockholm Monsters,
the Swans,
The Shadows of Knight,
Steve Hackett,
The Black Dice,
Brass Construction,
Country Joe & The Fish,
Mars,
The Standells,
Minor Threat,
Television,
Harpers Bizarre,
Pete Rock & C.L. Smooth,
Young Marble Giants,
Terrestrial Tones,
Barclay James Harvest,
Big Daddy Kane,
Pussy Galore,
Patti Smith,
Curtis Mayfield,
The Sonics, The Sonics, The Sonics, The Sonics.
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.