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 Cuba and from Seoul.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Houston and Mumbai.
I'm losing my edge to the art-school Woodstock 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 Second Layer practice in a loft in South London.
I was working on the marimba 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 Nas to the rock kids.
I played it at the Roxy.
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 Major Organ And The Adding Machine. All the underground hits.
All Pylon tracks. I heard you have a vinyl of every Echospace record on German import.
I heard that you have a white label of every seminal techno 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 harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
Darondo,
Prince Buster,
Brand Nubian,
The Men They Couldn't Hang,
Erasure,
The Searchers,
Deakin,
The Fortunes,
Organ,
Lalo Schifrin,
Von Mondo,
Gregory Isaacs,
KRS-One,
The Fall,
Delon & Dalcan,
Grandmaster Flash,
Piero Umiliani,
Accadde A,
Joe Finger,
Yellowson,
Minnie Riperton,
The Monks,
Dorothy Ashby,
Liliput,
Terry Callier,
The Birthday Party,
Mad Mike,
Audionom,
Funkadelic,
Byron Stingily,
cv313,
Can,
Agitation Free,
Pylon,
Dual Sessions,
Hoover,
Visionaries,LMNO, T- Love & Iriscience,
The Moody Blues,
The Knickerbockers,
This Heat,
Kauko Röyhkä ja Narttu,
Lalann,
The Durutti Column,
Oppenheimer Analysis,
Smog,
Rod Modell,
Nico,
Royal Trux,
Second Layer,
Das Ding,
Monks,
The Red Krayola,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Sly & The Family Stone,
Harry Pussy,
Funky Four + One,
X-Ray Spex,
Albert Ayler,
Ludus,
Zapp,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.