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 Nigeria and from Milan.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1973.
I'm losing my edge.
To all the kids in Shanghai and Milan.
I'm losing my edge to the art-school Manchester 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 Feelies practice in a loft in Haledon.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Crispy Ambulance to the crunk kids.
I played it at Trash.
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 Mars tracks. I heard you have a vinyl of every Matthew Halsall record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
Duran Duran,
The Names,
Delta 5,
Nick Fraelich,
Todd Terry,
Erykah Badu,
Leonard Cohen,
The West Coast Pop Art Experimental Band,
Adolescents,
Sun City Girls,
Technova,
The Dead C,
Nas,
Deadbeat,
Ken Boothe,
The Kinks,
Absolute Body Control,
John Coltrane,
The Count Five,
Rapeman,
The Residents,
Sonic Youth,
Archie Shepp,
Johnny Clarke,
The Modern Lovers,
The Seeds,
Tropical Tobacco,
Scion,
Pole,
Chris Corsano,
Tubeway Army,
The Fuzztones,
Liliput,
Sight & Sound,
Laurel Aitken,
Arcadia,
Tom Boy,
Justin Hinds & The Dominoes,
Peter & Gordon,
Donald Byrd,
Sällskapet,
Marine Girls,
Terry Callier,
The Martian,
Bluetip,
Funkadelic,
Jimmy McGriff,
Rosa Yemen,
The Offenders,
Pere Ubu,
Pantytec,
China Crisis,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Cal Tjader,
Kerri Chandler,
Oblivians,
E-Dancer,
Sad Lovers and Giants,
Hoover,
Popol Vuh,
Manfred Mann's Earth Band,
Rekid, Rekid, Rekid, Rekid.
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.