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 Tehran.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Bremen and Lyon.
I'm losing my edge to the art-school Houston 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 Josef K practice in a loft in Edinburgh.
I was working on the 808 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 Dorothy Ashby to the grunge kids.
I played it at the 40 Watt.
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 A Certain Ratio. All the underground hits.
All Pantaleimon tracks. I heard you have a vinyl of every Shuggie Otis record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
The Beau Brummels,
Masters at Work,
Soulsonic Force,
Thompson Twins,
Brand Nubian,
Siouxsie and the Banshees,
Marshall Jefferson,
Rowland S Howard / Lydia Lunch,
Be Bop Deluxe,
Hashim,
a-ha,
Symarip,
Marcia Griffiths,
Steve Hackett,
Grauzone,
Skaos,
Prince Buster,
R.M.O.,
Amazonics,
Letta Mbulu,
Reagan Youth,
Alton Ellis,
Unwound,
U.S. Maple,
Pagans,
Lee Hazlewood,
Maurizio,
Moebius,
Jeru the Damaja,
Skriet,
Rakim,
The Men They Couldn't Hang,
Sällskapet,
Arab on Radar,
Maleditus Sound,
Glambeats Corp.,
The Dead C,
Black Moon,
Liaisons Dangereuses,
Junior Murvin,
Big Daddy Kane,
Ralphi Rosario,
The Busters,
Public Enemy,
Brick,
Bill Wells,
Rahsaan Roland Kirk,
Quando Quango,
Avey Tare,
Rekid,
Manfred Mann's Earth Band,
E-Dancer,
Qualms,
Agitation Free,
Ornette Coleman,
Justin Hinds & The Dominoes,
Kauko Röyhkä ja Narttu,
Kurtis Blow,
Sarah Menescal,
K-Klass,
Eli Mardock,
Girls At Our Best!, Girls At Our Best!, Girls At Our Best!, Girls At Our Best!.
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.