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 Turkmenistan and from London.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Mexico City.
I'm losing my edge to the art-school Johannesburg 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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar 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 Eric B and Rakim to the dance 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 Circle Jerks. All the underground hits.
All Joensuu 1685 tracks. I heard you have a vinyl of every Sight & Sound record on German import.
I heard that you have a white label of every seminal grime 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 marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Eddi Front record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Bill Wells,
Ohio Players,
Aswad,
Fort Wilson Riot,
Curtis Mayfield,
Boogie Down Productions,
Loose Ends,
Cymande,
Radiohead,
Susan Cadogan,
Glenn Branca,
Niagra,
Fifty Foot Hose,
China Crisis,
The Flesh Eaters,
Depeche Mode,
Aural Exciters,
Kerri Chandler,
The Moody Blues,
Jerry Gold Smith,
Tomorrow,
Tears for Fears,
World's Most,
The Vogues,
Easy Going,
The Walker Brothers,
The Doobie Brothers,
Saccharine Trust,
John Coltrane,
Sparks,
LL Cool J,
kango's stein massive,
Au Pairs,
Jacques Brel,
Excepter,
Franke,
Cybotron,
R.M.O.,
A Flock of Seagulls,
Symarip,
Ultra Naté,
Vaughan Mason & Crew,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
H. Thieme,
Oblivians,
Thompson Twins,
Sight & Sound,
Suicide,
Negative Approach,
Peter Gordon & Love of Life Orchestra,
Kauko Röyhkä ja Narttu,
Grauzone,
The Associates,
Maurizio,
Marmalade,
The J.B.'s,
Gang of Four,
Joey Negro,
Bobby Byrd,
Fela Kuti,
DeepChord presents Echospace,
The Tremeloes,
Rod Modell, Rod Modell, Rod Modell, Rod Modell.
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.