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 Ukraine and from London.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Delhi and Woodstock.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 Underground Resistance to the electroclash kids.
I played it at the Hacienda.
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 Grandmaster Flash. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Gil Scott Heron record on German import.
I heard that you have a white label of every seminal techno 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 güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Gong record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
X-101,
The Move,
Moss Icon,
Sad Lovers and Giants,
Lebanon Hanover,
48th St. Collective,
Arthur Verocai,
Deakin,
Kas Product,
Angels of Light & Akron/Family,
Magma,
Accadde A,
Nation of Ulysses,
Adolescents,
Electric Light Orchestra,
Con Funk Shun,
Lalo Schifrin,
Swell Maps,
Vaughan Mason & Crew,
Bang on a Can All-Stars,
Eyeless In Gaza,
Johnny Clarke,
Gang Gang Dance,
Tres Demented,
CMW,
The Durutti Column,
Half Japanese,
Brick,
Bronski Beat,
Brand Nubian,
The J.B.'s,
The Pop Group,
The Men They Couldn't Hang,
The Offenders,
Juan Atkins,
Ken Boothe,
Lou Reed,
Lonnie Liston Smith,
Lightning Bolt,
It's A Beautiful Day,
Darondo,
Major Organ And The Adding Machine,
Jeff Mills,
Crime,
Suicide,
Gary Puckett & The Union Gap,
Gregory Isaacs,
Bobby Byrd,
The Barracudas,
John Coltrane,
The Red Krayola,
Boogie Down Productions,
Ultimate Spinach,
Talk Talk,
Scott Walker,
The Gories,
The Stooges,
The Five Americans,
Technova,
Ten City, Ten City, Ten City, Ten City.
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.