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 St Kitts & Nevis and from Portland.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Manila and Columbus.
I'm losing my edge to the art-school Lyon 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 808 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 Fat Boys to the rap kids.
I played it at the 40 Watt.
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 Donald Byrd. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every Blancmange 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 güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sex Pistols,
Gichy Dan,
Soul II Soul,
Big Daddy Kane,
Kurtis Blow,
Crispian St. Peters,
Basic Channel,
Severed Heads,
The Alarm Clocks,
Sonny Sharrock,
Rhythm & Sound,
Kaleidoscope,
Anthony Braxton,
Camouflage,
Pussy Galore,
F. McDonald,
Yellowson,
T. Rex,
Nas,
Traffic Nightmare,
Fatback Band,
The Cowsills,
Essential Logic,
Nik Kershaw,
Stiv Bators,
Jacob Miller,
The Vogues,
Banda Bassotti,
Junior Murvin,
Jandek,
Bronski Beat,
Das Ding,
Young Marble Giants,
Rosa Yemen,
Desert Stars,
Loose Ends,
Deadbeat,
Radiohead,
Altered Images,
Tears for Fears,
Derrick May,
Smog,
Tom Boy,
Joe Smooth,
Inner City,
The Gap Band,
Robert Hood,
Wolf Eyes,
Soft Machine,
The Sound,
John Holt,
Kenny Larkin,
Eric Dolphy,
Eyeless In Gaza,
Newcleus,
Lungfish,
A Certain Ratio,
Graham Central Station,
The West Coast Pop Art Experimental Band,
London Community Gospel Choir,
Pole,
Trumans Water, Trumans Water, Trumans Water, Trumans Water.
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.