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 South Sudan and from New York.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Calgary and Sao Paulo.
I'm losing my edge to the art-school Woodstock 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the marimba 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 Crime to the grime kids.
I played it at the Crocodile.
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 Cybotron. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Chris & Cosey record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Cymande record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Hutcherson,
the Normal,
Joyce Sims,
The Standells,
Parry Music,
Sixth Finger,
Bang On A Can,
Sonny Sharrock,
Boogie Down Productions,
Barrington Levy,
Pussy Galore,
Davy DMX,
Wighnomy Brothers & Robag Wruhme,
Aural Exciters,
Ohio Players,
James Chance & The Contortions,
Pet Shop Boys,
Agent Orange,
Blossom Toes,
Qualms,
Gil Scott-Heron & Brian Jackson,
Radiohead,
Jeff Lynne,
Minny Pops,
Quantec,
Sun Ra Arkestra,
Crime,
Massinfluence,
Ronan,
The Black Dice,
Q and Not U,
the Human League,
Lou Reed,
The Martian,
Be Bop Deluxe,
Radio Birdman,
Todd Rundgren,
The Men They Couldn't Hang,
Marc Romboy vs. Booka Shade,
The Grass Roots,
Gary Puckett & The Union Gap,
Chris Corsano,
Johnny Clarke,
Eurythmics,
UT,
Amazonics,
Khruangbin,
Cheater Slicks,
Los Fastidios,
Joe Finger,
Maurizio,
Moss Icon,
Lyres,
Chrome,
The Count Five,
Tommy Roe,
Tubeway Army,
Camouflage,
Hashim,
Slick Rick,
The Misunderstood, The Misunderstood, The Misunderstood, The Misunderstood.
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.