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 Korea North and from Madrid.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Edmonton and Cairo.
I'm losing my edge to the art-school Mumbai 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin 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 Blossom Toes to the jazz 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 Roy Ayers. All the underground hits.
All Chris Corsano tracks. I heard you have a vinyl of every The Modern Lovers record on German import.
I heard that you have a white label of every seminal rap 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 chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Gastr Del Sol 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?
Eli Mardock,
Reagan Youth,
Tropical Tobacco,
Angry Samoans,
David Axelrod,
Gerry Rafferty,
MC5,
Au Pairs,
Bobby Sherman,
Brick,
The Last Poets,
Technova,
Thee Headcoats,
The Victims,
Icehouse,
a-ha,
Todd Terry,
Sparks,
Neil Young & Crazy Horse,
DJ Style,
Vainqueur,
Bronski Beat,
Mad Mike,
Minny Pops,
Con Funk Shun,
Eurythmics,
Grey Daturas,
Stiv Bators,
Soft Cell,
Bill Wells,
Anakelly,
Faraquet,
Rosa Yemen,
Deutsch Amerikanische Freundschaft,
Public Image Ltd.,
Justin Hinds & The Dominoes,
Pharaoh Sanders and the Fire Engines,
Jesper Dahlback,
The Count Five,
Gang Starr,
Man Parrish,
Judy Mowatt,
Jandek,
Yellowson,
Albert Ayler,
Echo & the Bunnymen,
Gregory Isaacs,
Heaven 17,
Urselle,
Susan Cadogan,
Barclay James Harvest,
Chris Corsano,
Pole,
Kool G Rap & DJ Polo,
The Angels of Light,
Johnny Clarke,
Talk Talk,
Saccharine Trust,
Nirvana,
Brand Nubian,
Deadbeat,
Dennis Brown,
Marmalade, Marmalade, Marmalade, Marmalade.
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.