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 Micronesia and from Philadelphia.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Beijing and Mexico City.
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 chamberlin 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 Tom Boy to the dance kids.
I played it at Trash.
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 T. Rex. All the underground hits.
All Swell Maps tracks. I heard you have a vinyl of every Mad Mike record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
10cc,
Black Bananas,
Bush Tetras,
Sällskapet,
Camouflage,
The Kinks,
John Holt,
Massinfluence,
The Martian,
David McCallum,
X-101,
Yellowson,
Tropical Tobacco,
Eric B and Rakim,
The Last Poets,
Nas,
Heavy D & The Boyz,
DeepChord presents Echospace,
Unrelated Segments,
Deakin,
Rhythim Is Rhythim,
Gary Puckett & The Union Gap,
Avey Tare & Kría Brekkan,
Qualms,
Scott Walker + Sunn O))),
Electric Light Orchestra,
Don Cherry,
The Alarm Clocks,
Ken Boothe,
Robert Wyatt,
The Moody Blues,
Bootsy Collins,
Albert Ayler,
Max Romeo,
Pharoah Sanders,
Mantronix,
Orchestral Manoeuvres in the Dark,
The Selecter,
Motorama,
Trumans Water,
De La Soul & Jungle Brothers,
Larry & the Blue Notes,
Piero Umiliani,
Reagan Youth,
Livin' Joy,
Crooked Eye,
Lou Reed & John Cale,
Marc Almond,
Amon Düül,
Ludus,
Erykah Badu,
Robert Hood,
Althea and Donna,
LL Cool J,
Fugazi,
Minnie Riperton,
The Victims,
Ronnie Foster,
Fluxion, Fluxion, Fluxion, Fluxion.
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.