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 St Lucia and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Edmonton and Houston.
I'm losing my edge to the art-school Stockholm 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 1976 at the first Chic practice in a loft in New York.
I was working on the clarinet 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 Saccharine Trust to the rap kids.
I played it at the Spitz.
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 Quantec. All the underground hits.
All The J.B.'s tracks. I heard you have a vinyl of every Mad Mike record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terry Callier,
PIL,
The United States of America,
Derrick Morgan,
Soul II Soul,
Don Cherry,
Banda Bassotti,
Grandmaster Flash,
Eli Mardock,
The Stooges,
Dave Gahan,
Pharoah Sanders,
Country Joe & The Fish,
Jerry's Kids,
Black Sheep,
Pantaleimon,
Rahsaan Roland Kirk,
Minny Pops,
Major Organ And The Adding Machine,
Jimmy McGriff,
Bauhaus,
The Happenings,
Pete Rock & C.L. Smooth,
Visionaries,LMNO, T- Love & Iriscience,
Groovy Waters,
Arthur Verocai,
Can,
Ralphi Rosario,
The Sound,
Barrington Levy,
Vladislav Delay,
Connie Case,
Pierre Henry,
Blake Baxter,
Skarface,
AZ,
Lou Christie,
Ludus,
Dark Day,
The Selecter,
Morten Harket,
Talk Talk,
a-ha,
T.S.O.L.,
The Young Rascals,
Aloha Tigers,
Tropical Tobacco,
The Seeds,
Quantec,
Pussy Galore,
Audionom,
Harpers Bizarre,
Dr. Dre and Snoop Doggy Dog,
Zero Boys,
the Soft Cell,
Nation of Ulysses,
Erasure,
Porter Ricks,
Camouflage,
Richard Hell and the Voidoids,
Thinking Fellers Union Local 282,
Crispian St. Peters,
La Düsseldorf,
Television Personalities, Television Personalities, Television Personalities, Television Personalities.
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.