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 Fiji and from Shanghai.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1976.
I'm losing my edge.
To all the kids in Bologna and Edmonton.
I'm losing my edge to the art-school London 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 Michael McDonald 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 Desert Stars to the funk kids.
I played it at the Astoria.
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 Fela Kuti. All the underground hits.
All Sound Behaviour tracks. I heard you have a vinyl of every Depeche Mode record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Peter Gordon & Love of Life Orchestra record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronan,
Lou Christie,
Notorious Big And Bone Thugs,
Das Ding,
Lou Reed,
OOIOO,
Grandmaster Flash,
Scratch Acid,
Metal Thangz,
Urselle,
Section 25,
The Searchers,
Sound Behaviour,
Trumans Water,
Youth Brigade,
Jerry Gold Smith,
Deakin,
Wire,
the Swans,
Warsaw,
The Techniques,
Vladislav Delay,
Crime,
Mission of Burma,
Justin Hinds & The Dominoes,
Lyres,
Crispian St. Peters,
Con Funk Shun,
Bluetip,
F. McDonald,
John Cale,
Wally Richardson,
Jacques Brel,
The Men They Couldn't Hang,
Surgeon,
Juan Atkins,
DJ Style,
The Dirtbombs,
Robert Wyatt,
Bobby Byrd,
Lalo Schifrin,
The Gladiators,
The Mojo Men,
The New Christs,
Moby Grape,
Stiv Bators,
Pharoah Sanders,
The Cure,
Maleditus Sound,
Icehouse,
Barrington Levy,
Cal Tjader,
Roxy Music,
the Soft Cell,
Dennis Brown,
Stereo Dub,
Matthew Bourne,
Gastr Del Sol,
Pantytec,
Excepter,
Quantec, Quantec, Quantec, Quantec.
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.