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 Haiti and from Tokyo.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Calgary and Manila.
I'm losing my edge to the art-school Shanghai 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 Andrew Hill to the rap kids.
I played it at the Troubador.
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 These Immortal Souls. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Parry Music 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Christie,
Severed Heads,
Drexciya,
Notorious Big And Bone Thugs,
Symarip,
Newcleus,
One Last Wish,
Notorious BIG live in Amsterdam,
Matthew Bourne,
Groovy Waters,
Sällskapet,
Fatback Band,
The Buckinghams,
Fluxion,
E-Dancer,
Richard Hell and the Voidoids,
Public Image Ltd.,
U.S. Maple,
Fela Kuti,
Massinfluence,
Barclay James Harvest,
Au Pairs,
New Order,
Graham Central Station,
Roy Ayers,
Barry Ungar,
Reuben Wilson,
The Techniques,
Gabor Szabo,
Funkadelic,
Gian Franco Pienzio,
Minor Threat,
cv313,
Maleditus Sound,
The Toasters,
Electric Prunes,
John Lydon,
Youth Brigade,
Toni Rubio,
Faraquet,
Kool Moe Dee,
Pharaoh Sanders and the Fire Engines,
Cecil Taylor,
Loose Ends,
Gil Scott-Heron and Jamie xx,
Piero Umiliani,
Art Ensemble Of Chicago,
Franke,
The Mighty Diamonds,
Masters at Work,
Essential Logic,
The Happenings,
the Fania All-Stars,
Pylon,
T. Rex,
The Dave Clark Five,
Crash Course in Science,
The Doobie Brothers,
The Flesh Eaters,
Gastr Del Sol,
Marvin Gaye,
The Offenders,
Camouflage,
The Last Poets, The Last Poets, The Last Poets, The Last Poets.
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.