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 Cameroon and from Madrid.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1968 to 1973.
I'm losing my edge.
To all the kids in Spokane and Woodstock.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the organ sounds with much patience.
I was there when Captain Beefheart 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 Girls At Our Best! to the techno kids.
I played it at the Roxy.
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 Jerry Gold Smith. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Colin Newman 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 an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barbara Tucker,
Arthur Verocai,
Boz Scaggs,
Sixth Finger,
Minutemen,
Panda Bear,
The Leaves,
Model 500,
Pagans,
Au Pairs,
The Vogues,
Soul Sonic Force,
Terrestrial Tones,
Fort Wilson Riot,
Ossler,
Barrington Levy,
The J.B.'s,
LL Cool J,
Pole,
Royal Trux,
Röyhkä ja Rättö ja Lehtisalo,
Icehouse,
Electric Light Orchestra,
Nick Fraelich,
Mars,
Vaughan Mason & Crew,
Basic Channel,
Curtis Mayfield,
David McCallum,
Grandmaster Flash,
Eric B and Rakim,
Bauhaus,
Simply Red,
The Red Krayola,
48th St. Collective,
the Normal,
London Community Gospel Choir,
The Gun Club,
Eric Copeland,
Crash Course in Science,
The Durutti Column,
Colin Newman,
Radio Birdman,
Captain Beefheart & His Magic Band,
PIL,
Ice-T,
Blancmange,
Scratch Acid,
The Mojo Men,
The Names,
Lower 48,
Ituana,
MDC,
CMW,
John Lydon,
Prince Buster,
Jeff Mills,
Terror Squad Feat. Camron,
Sound Behaviour,
Kerrie Biddell,
Japan,
Fatback Band, Fatback Band, Fatback Band, Fatback Band.
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.