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 Sudan and from Houston.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Mumbai and Milan.
I'm losing my edge to the art-school Spokane 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 organ 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 Oppenheimer Analysis to the grunge kids.
I played it at the Crocodile.
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 Lee Hazlewood. All the underground hits.
All CMW tracks. I heard you have a vinyl of every Chris Corsano record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Essential Logic,
Hot Snakes,
Teenage Jesus and the Jerks,
Albert Ayler,
Kauko Röyhkä ja Narttu,
Severed Heads,
Lalann,
Gil Scott-Heron & Brian Jackson,
Flash Fearless,
The Flesh Eaters,
Strawberry Alarm Clock,
Brothers Johnson,
Echospace,
Pantytec,
Susan Cadogan,
Kevin Saunderson,
Roy Ayers,
the Germs,
Jerry Gold Smith,
Panda Bear,
Bad Manners,
Sonny Sharrock,
Alice Coltrane,
Monolake,
Derrick May,
Eden Ahbez,
Max Romeo,
Sight & Sound,
John Foxx,
Scrapy,
Gil Scott Heron,
The Electric Prunes,
Pulsallama,
Kerri Chandler,
The Fall,
John Lydon,
Anthony Braxton,
Soul II Soul,
Bang On A Can,
Quadrant,
Stiv Bators,
Marc Romboy vs. Booka Shade,
Donny Hathaway,
Kerrie Biddell,
The Sisters of Mercy,
Angels of Light & Akron/Family,
Spandau Ballet,
Franke,
The Standells,
Procol Harum,
Girls At Our Best!,
Tropical Tobacco,
Danielle Patucci,
David Axelrod,
Nik Kershaw,
Mission of Burma,
Roger Hodgson,
Unrelated Segments,
Mantronix,
Derrick Morgan,
KRS-One,
The Leaves,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.