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 Mali and from London.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Manila and Copenhagen.
I'm losing my edge to the art-school Tokyo 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 1984 at the first Arcadia practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 Juan Atkins to the grime kids.
I played it at the Roxy.
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 Lightning Bolt. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Barbara Tucker 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 an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Theoretical Girls,
Donald Byrd,
David McCallum,
Todd Rundgren,
L. Decosne,
Nils Olav,
Amazonics,
Alphaville,
Guru Guru,
the Fania All-Stars,
Babytalk,
The Walker Brothers,
Man Parrish,
Gang Green,
The West Coast Pop Art Experimental Band,
Rakim,
Fear,
Rhythm & Sound,
Marshall Jefferson,
Drive Like Jehu,
Gian Franco Pienzio,
The Dead C,
Angry Samoans,
Slick Rick,
Gregory Isaacs,
Henry Cow,
Avey Tare & Kría Brekkan,
Joensuu 1685,
KRS-One,
Radiohead,
The Gap Band,
Max Romeo,
Teenage Jesus and the Jerks,
The American Breed,
Andrew Ashong & Theo Parrish,
Hardrive,
Oblivians,
Marc Almond,
Gang Starr,
The Doobie Brothers,
Underground Resistance,
The Music Machine,
Piero Umiliani,
Skaos,
Black Bananas,
The Jesus and Mary Chain,
Johnny Clarke,
Sarah Menescal,
The Divine Comedy,
The Busters,
Kenny Larkin,
Aloha Tigers,
Eric Dolphy,
Can,
Popol Vuh,
Ralphi Rosario,
Ultra Naté,
The Names,
Barry Ungar,
Ponytail,
Nation of Ulysses,
Howard Jones,
Tres Demented, Tres Demented, Tres Demented, Tres Demented.
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.