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 Iraq and from Delhi.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Lille.
I'm losing my edge to the art-school Accra 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 Human League practice in a loft in Sheffield.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Supertramp to the funk 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 Juan Atkins. All the underground hits.
All One Last Wish tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish 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 mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Glambeats Corp. record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers,
The Move,
Godley & Creme,
Bluetip,
Justin Hinds & The Dominoes,
These Immortal Souls,
Pylon,
Roxy Music,
Franke,
Loose Ends,
Gil Scott-Heron and Jamie xx,
James Chance & The Contortions,
The Mighty Diamonds,
Avey Tare,
Donald Byrd,
Unrelated Segments,
The Last Poets,
Don Cherry,
Aural Exciters,
Lalann,
Make Up,
Reagan Youth,
Camron Feat. Memphis Bleek And Beenie Seigel,
L. Decosne,
The Detroit Cobras,
Minnie Riperton,
Leonard Cohen,
Yaz,
Electric Light Orchestra,
Susan Cadogan,
Brand Nubian,
E-Dancer,
Lungfish,
Unwound,
Ultimate Spinach,
It's A Beautiful Day,
Echo & the Bunnymen,
Lizzy Mercier Descloux,
Sixth Finger,
Technova,
Soul Sonic Force,
Dorothy Ashby,
Rosa Yemen,
The Kinks,
The Smoke,
48th St. Collective,
Grauzone,
Black Pus,
Fluxion,
Prince Buster,
Desert Stars,
Japan,
Fat Boys,
Wally Richardson,
The Chocolate Watch Band,
Angry Samoans,
Todd Terry,
Ossler,
Curtis Mayfield,
Black Flag,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.