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 Gambia and from Bologna.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Manchester 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Sonny Sharrock to the grunge kids.
I played it at the Astoria.
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 In Retrospect. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every Suicide record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Last Poets record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang on a Can All-Stars,
Deadbeat,
Lou Reed & John Cale,
Prince Buster,
The Smiths,
David Bowie,
Spoonie Gee,
Electric Light Orchestra,
The Blackbyrds,
Mantronix,
Strawberry Alarm Clock,
Pulsallama,
Scientists,
Matthew Halsall,
Y Pants,
Soulsonic Force,
Jeff Mills,
Lucky Dragons,
FM Einheit,
Tubeway Army,
The Gories,
Black Pus,
June of 44,
Sonny Sharrock,
Visage,
The Buckinghams,
Andrew Ashong & Theo Parrish,
Judy Mowatt,
Jerry Gold Smith,
Lakeside,
Niagra,
Aural Exciters,
Shuggie Otis,
Monolake,
Flash Fearless,
10cc,
Pussy Galore,
Qualms,
The Beau Brummels,
Wolf Eyes,
The Star Department,
Maurizio,
London Community Gospel Choir,
Yaz,
Gregory Isaacs,
Ken Boothe,
Carl Craig,
Rod Modell,
Sex Pistols,
Big Daddy Kane,
Sunsets and Hearts,
Public Enemy,
Charles Mingus,
Mark Hollis,
Marcia Griffiths,
Essential Logic,
a-ha,
Fat Boys,
David Axelrod,
Icehouse,
New Order,
Joensuu 1685,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.