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 Syria and from Hong Kong.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1976.
I'm losing my edge.
To all the kids in Madrid and Glasgow.
I'm losing my edge to the art-school Tehran 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the synthesizer 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 Kool G Rap & DJ Polo to the disco kids.
I played it at the Hacienda.
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 Sixth Finger. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every Slick Rick 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Curtis Mayfield,
Q65,
The Associates,
Bush Tetras,
Amazonics,
Nick Cave & The Bad Seeds,
Prince Buster,
Urselle,
ABC,
Negative Approach,
Japan,
Qualms,
10cc,
Drive Like Jehu,
The Five Americans,
Lafayette Afro Rock Band,
Das Ding,
Sunsets and Hearts,
Soft Machine,
X-102,
Sun City Girls,
Jerry Gold Smith,
Ken Boothe,
Amon Düül II,
The Chocolate Watch Band,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
F. McDonald,
Moss Icon,
Essential Logic,
John Coltrane,
L. Decosne,
Man Eating Sloth,
The Men They Couldn't Hang,
London Community Gospel Choir,
Half Japanese,
Teenage Jesus and the Jerks,
Bizarre Inc.,
The Durutti Column,
Swell Maps,
Bronski Beat,
Donny Hathaway,
Roy Ayers Ubiquity,
Desert Stars,
Jeff Lynne,
Gabor Szabo,
John Holt,
Marvin Gaye,
Andrew Hill,
Reagan Youth,
Sly & The Family Stone,
Massinfluence,
Moebius,
The Fire Engines,
The Fall,
Henry Cow,
David Axelrod,
Funkadelic,
Dawn Penn,
Ultimate Spinach,
Spandau Ballet,
Kenny Larkin,
Section 25, Section 25, Section 25, Section 25.
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.