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 Argentina and from Johannesburg.
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 1963 to 1976.
I'm losing my edge.
To all the kids in London and Mexico City.
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 1967 at the first Rodriguez practice in a loft in Detroit.
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 Gil Scott-Heron and Jamie xx to the funk 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 Quantec. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Soft Machine record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Wake record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Scrapy,
Siouxsie and the Banshees,
Orchestral Manoeuvres in the Dark,
Jimmy McGriff,
Dawn Penn,
Howard Jones,
The Electric Prunes,
Rotary Connection,
Sugar Minott,
Marshall Jefferson,
The Velvet Underground,
Ajijia Myrayebe,
The American Breed,
Pantaleimon,
The Modern Lovers,
Bobby Hutcherson,
Audionom,
Sixth Finger,
Minor Threat,
Gang Gang Dance,
Rhythm & Sound,
Buzzcocks,
Skarface,
The Red Krayola,
Slick Rick,
Leonard Cohen,
Glenn Branca,
Liaisons Dangereuses,
Notorious Big And Bone Thugs,
Yusef Lateef,
The Shadows of Knight,
The Beau Brummels,
DNA,
Ituana,
Maleditus Sound,
Mr. Review,
Röyhkä ja Rättö ja Lehtisalo,
Erykah Badu,
Rekid,
Steve Hackett,
Mo-Dettes,
Cluster,
Bill Wells,
Larry & the Blue Notes,
Procol Harum,
Major Organ And The Adding Machine,
Guru Guru,
Amon Düül,
Eric Copeland,
The Smiths,
Negative Approach,
Cheater Slicks,
Theoretical Girls,
The New Christs,
Accadde A,
Reagan Youth,
The Fortunes,
The Royal Family And The Poor,
Gil Scott-Heron & Brian Jackson,
Khruangbin,
Marcia Griffiths,
Y Pants,
Barclay James Harvest,
Schoolly D, Schoolly D, Schoolly D, Schoolly D.
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.