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 Czech Republic and from Accra.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1969 to 1978.
I'm losing my edge.
To all the kids in Columbus and Salvador.
I'm losing my edge to the art-school Madrid 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the clarinet 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 Quantec to the dance 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 Man Eating Sloth. All the underground hits.
All Mission of Burma tracks. I heard you have a vinyl of every Faraquet 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 '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Aaron Thompson,
B.T. Express,
Rufus Thomas,
Pagans,
Hardrive,
Richard Hell and the Voidoids,
Sällskapet,
K-Klass,
Liaisons Dangereuses,
The Vogues,
Icehouse,
The Shadows of Knight,
Eden Ahbez,
The Moleskins,
Radio Birdman,
Ice-T,
Joe Finger,
Arcadia,
Soul II Soul,
Connie Case,
Mantronix,
Boogie Down Productions,
CMW,
Radiohead,
Max Romeo,
Major Organ And The Adding Machine,
The Barracudas,
Moebius,
Massinfluence,
James White and The Blacks,
DeepChord presents Echospace,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Slackers,
PIL,
Arab on Radar,
Cameo,
Bobbi Humphrey,
Panda Bear,
Robert Wyatt,
The Cosmic Jokers,
Talk Talk,
The Electric Prunes,
Brass Construction,
The Doobie Brothers,
Porter Ricks,
James Chance & The Contortions,
Basic Channel,
Ultravox,
Camouflage,
Grandmaster Flash and the Furious Five,
Fluxion,
Manfred Mann's Earth Band,
Malaria!,
Half Japanese,
Mo-Dettes,
Fela Kuti,
Terry Callier,
Kas Product,
Electric Prunes,
Flipper,
Gil Scott Heron,
Sparks, Sparks, Sparks, Sparks.
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.