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 Barbados and from Paris.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Accra.
I'm losing my edge to the art-school Winnipeg 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 1973 at the first Television practice in a loft in New York.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 Cybotron to the grime 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 Lalann. All the underground hits.
All This Heat tracks. I heard you have a vinyl of every Jimmy McGriff 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 '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pete Rock & C.L. Smooth,
T.S.O.L.,
Yaz,
Gong,
Subhumans,
The Detroit Cobras,
The Monochrome Set,
Zapp,
Sight & Sound,
Ultra Naté,
The Index,
Scratch Acid,
Johnny Clarke,
Gang Green,
DJ Style,
Skaos,
U.S. Maple,
James White and The Blacks,
A Certain Ratio,
Nils Olav,
Jandek,
The Modern Lovers,
Theoretical Girls,
Flash Fearless,
The Black Dice,
Howard Jones,
Sun Ra Arkestra,
Franke,
Neil Young,
Grauzone,
Sexual Harrassment,
This Heat,
Livin' Joy,
Sunsets and Hearts,
Barclay James Harvest,
the Sonics,
The Sound,
Peter Gordon & Love of Life Orchestra,
Arthur Verocai,
Ituana,
Model 500,
Jeru the Damaja,
Terry Callier,
Intrusion,
The Star Department,
Pussy Galore,
Bobby Sherman,
Jawbox,
Rakim,
Barrington Levy,
Idris Muhammad,
The Vogues,
Kayak,
Eric B and Rakim,
Orchestral Manoeuvres in the Dark,
Stiv Bators,
Aloha Tigers,
The Real Kids,
Popol Vuh,
Sonny Sharrock,
Lou Christie, Lou Christie, Lou Christie, Lou Christie.
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.