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 Micronesia and from Manchester.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Delhi and Spokane.
I'm losing my edge to the art-school Lille 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator 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 Camberwell Now to the grunge 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 Johnny Clarke. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every Junior Murvin 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 '60s cut and another box set from the '70s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Desert Stars,
Intrusion,
The Dead C,
Dual Sessions,
Wire,
Monks,
The Selecter,
Essential Logic,
Wings,
Rapeman,
Pantaleimon,
Ice-T,
Chrome,
Harry Pussy,
Ohio Players,
The Sound,
Roy Ayers Ubiquity,
Eyeless In Gaza,
Robert Görl,
The Mummies,
Sugar Minott,
New Age Steppers,
Blancmange,
The J.B.'s,
Half Japanese,
London Community Gospel Choir,
Cal Tjader,
Boogie Down Productions,
the Human League,
Scrapy,
Eli Mardock,
Oppenheimer Analysis,
Infiniti,
Das Ding,
Sly & The Family Stone,
DJ Sneak,
The Young Rascals,
Scan 7,
Sällskapet,
Moss Icon,
The Litter,
Kauko Röyhkä ja Narttu,
Godley & Creme,
The Kinks,
Massinfluence,
Grandmaster Flash and the Furious Five,
Pierre Henry,
Delon & Dalcan,
Toni Rubio,
These Immortal Souls,
Rufus Thomas,
The Gun Club,
June of 44,
Todd Terry,
Pylon,
The Fugs,
Black Pus,
Joe Smooth,
Black Flag,
The Names,
Lebanon Hanover,
the Bar-Kays,
The Men They Couldn't Hang,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.