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 Kazakhstan and from Salvador.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Shanghai.
I'm losing my edge to the art-school Glasgow 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the theremin sounds with much patience.
I was there when Holger Czukay 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 Grandmaster Flash to the funk 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 Barrington Levy. All the underground hits.
All The Raincoats tracks. I heard you have a vinyl of every The Electric Prunes record on German import.
I heard that you have a white label of every seminal jazz 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 mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Blackbyrds record.
I hear that you and your band have sold your marimba and bought an organ.
I hear that you and your band have sold your organ and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
Pere Ubu,
World's Most,
Juan Atkins,
Whodini,
Ajijia Myrayebe,
The Selecter,
Notorious Big And Bone Thugs,
Lalo Schifrin,
The Jesus and Mary Chain,
Jesper Dahlbäck,
MDC,
The Trojans,
Joe Smooth,
X-101,
Howard Jones,
Glambeats Corp.,
Ten City,
Silicon Teens,
Hot Snakes,
The Misunderstood,
Monks,
Audionom,
Scrapy,
Mantronix,
Q and Not U,
Graham Central Station,
New Order,
Q65,
Donny Hathaway,
Al Stewart,
Thompson Twins,
Roxette,
Sparks,
The Cramps,
Aswad,
Strawberry Alarm Clock,
Matthew Halsall,
David Axelrod,
The Residents,
Lucky Dragons,
The Flesh Eaters,
Underground Resistance,
The Electric Prunes,
Cameo,
Nirvana,
Qualms,
the Normal,
Teenage Jesus and the Jerks,
Negative Approach,
The Wake,
Kool Moe Dee,
Slick Rick,
Todd Terry,
Ludus,
Rod Modell,
Camberwell Now,
Terrestrial Tones,
Guru Guru,
Judy Mowatt,
Throbbing Gristle,
Sugar Minott,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.