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 Zambia and from Houston.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1965 to 1976.
I'm losing my edge.
To all the kids in Columbus and London.
I'm losing my edge to the art-school Mexico City 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 marimba sounds with much patience.
I was there when Donald Fagen 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 Bang On A Can to the rap 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 Mary Jane Girls. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every Index 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 '90s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scion,
Severed Heads,
Ohio Players,
Ultramagnetic MC's,
Pierre Henry,
The United States of America,
Warsaw,
The Modern Lovers,
Mo-Dettes,
Red Lorry Yellow Lorry,
Rakim,
The Divine Comedy,
The Doobie Brothers,
Bobby Womack,
Kevin Saunderson,
Angry Samoans,
The Blues Magoos,
The Mummies,
Lee Hazlewood,
Fat Boys,
Pete Rock & C.L. Smooth,
Swell Maps,
The Birthday Party,
Big Daddy Kane,
Notorious BIG live in Amsterdam,
Eden Ahbez,
Accadde A,
Strawberry Alarm Clock,
The Index,
Swans,
Quantec,
Quando Quango,
Maurizio,
Sun City Girls,
The Durutti Column,
Nils Olav,
The Toasters,
Amazonics,
Anthony Braxton,
Zero Boys,
The Velvet Underground,
The Last Poets,
Drexciya,
Dual Sessions,
The Names,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Faust,
Avey Tare's Slasher Flicks,
Delta 5,
The Music Machine,
Silicon Teens,
The Happenings,
Marmalade,
The Mojo Men,
Marine Girls,
The Trojans,
Soul Sonic Force,
Mars,
Marc Almond,
Nik Kershaw,
Oppenheimer Analysis,
Japan,
The Monochrome Set,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
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.