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 Samoa and from Seoul.
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 1975.
I'm losing my edge.
To all the kids in Halifax and Glasgow.
I'm losing my edge to the art-school Mumbai 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the arpeggiator 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 Grandmaster Flash to the grunge kids.
I played it at the Roxy.
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 Anthony Braxton. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Albert Ayler record on German import.
I heard that you have a white label of every seminal funk 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 snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
UT,
Kurtis Blow,
Dennis Brown,
Essential Logic,
Joe Finger,
Stiv Bators,
Underground Resistance,
The Smoke,
Fat Boys,
Sugar Minott,
Adolescents,
Heaven 17,
the Human League,
Marmalade,
Theoretical Girls,
Byron Stingily,
the Soft Cell,
London Community Gospel Choir,
Urselle,
Crispy Ambulance,
Bill Wells,
Lower 48,
Camouflage,
Television Personalities,
Kevin Saunderson,
Angry Samoans,
10cc,
Bobbi Humphrey,
Hashim,
Neu!,
Funky Four + One,
Cameo,
Peter & Gordon,
Trumans Water,
Wighnomy Brothers & Robag Wruhme,
Spandau Ballet,
48th St. Collective,
The Selecter,
Ash Ra Tempel,
Livin' Joy,
Grey Daturas,
Barrington Levy,
Silicon Teens,
Oppenheimer Analysis,
Al Stewart,
Vladislav Delay,
Cheater Slicks,
Archie Shepp,
The Standells,
Hardrive,
Cybotron,
Vainqueur,
Bobby Sherman,
The Monochrome Set,
Agent Orange,
The Moleskins,
Groovy Waters,
Jacques Brel,
X-Ray Spex,
Guru Guru,
Neil Young,
Ludus,
Scion,
The Young Rascals, The Young Rascals, The Young Rascals, The Young Rascals.
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.