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 Haiti and from Beijing.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Toronto.
I'm losing my edge to the art-school Lagos 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 Con Funk Shun to the funk kids.
I played it at the Troubador.
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 Man Eating Sloth. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every The Gun Club 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Fania All-Stars,
Joe Smooth,
Freddie Wadling,
U.S. Maple,
Marshall Jefferson,
Jacques Brel,
Scion,
Liliput,
The Slackers,
DJ Style,
Fad Gadget,
James Chance & The Contortions,
Lucky Dragons,
Electric Light Orchestra,
Loose Ends,
Monolake,
The Vogues,
Michelle Simonal,
Thinking Fellers Union Local 282,
Maurizio,
The United States of America,
Banda Bassotti,
Eric Copeland,
Country Teasers,
Boredoms,
These Immortal Souls,
Joey Negro,
Lee Hazlewood,
Crash Course in Science,
Angels of Light & Akron/Family,
Masters at Work,
Wighnomy Brothers & Robag Wruhme,
Todd Terry,
Vaughan Mason & Crew,
Wally Richardson,
Minutemen,
The Evens,
Eric Dolphy,
Radiopuhelimet,
Delta 5,
Stereo Dub,
Avey Tare's Slasher Flicks,
Cal Tjader,
Joe Finger,
Parry Music,
Japan,
B.T. Express,
Gerry Rafferty,
London Community Gospel Choir,
Jeff Mills,
The Five Americans,
Black Bananas,
DNA,
Mandrill,
Heavy D & The Boyz,
Oneida,
Peter and Kerry,
Clear Light,
Sunsets and Hearts,
Donny Hathaway,
Nas,
Vladislav Delay,
cv313, cv313, cv313, cv313.
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.