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 Bahamas and from Copenhagen.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Winnipeg and Paris.
I'm losing my edge to the art-school Columbus 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Adolescents to the rap kids.
I played it at the Spitz.
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 Cecil Taylor. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every Mandrill record on German import.
I heard that you have a white label of every seminal rock 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 chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Alphaville,
The Toasters,
The Shadows of Knight,
Minnie Riperton,
Mars,
Bronski Beat,
Eve St. Jones,
Drexciya,
Sister Nancy,
Ossler,
Johnny Osbourne,
The Skatalites,
Rites of Spring,
Quantec,
a-ha,
Liliput,
The Jesus and Mary Chain,
The Slackers,
Clear Light,
Sun Ra,
Bill Near,
Pharaoh Sanders and the Fire Engines,
Nas,
James White and The Blacks,
Lou Reed & Metallica,
Sam Rivers,
Girls At Our Best!,
Bush Tetras,
Orchestral Manoeuvres in the Dark,
Saccharine Trust,
Black Moon,
Johnny Clarke,
Black Sheep,
MDC,
Cal Tjader,
Crispian St. Peters,
Terror Squad Feat. Camron,
Chris Corsano,
Rapeman,
Man Eating Sloth,
Gong,
Fort Wilson Riot,
Marc Romboy vs. Booka Shade,
Major Organ And The Adding Machine,
Isaac Hayes,
Jacob Miller,
Ultravox,
Aural Exciters,
Rekid,
The Monks,
Rowland S Howard / Lydia Lunch,
The Techniques,
Oneida,
The Mighty Diamonds,
Fluxion,
10cc,
Y Pants,
Technova,
Scott Walker + Sunn O))),
Dr. Dre and Snoop Doggy Dog,
Wings,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.