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 Georgia and from Tehran.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Salvador and Columbus.
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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the harpsichord sounds with much patience.
I was there when Robert Palmer 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 Television to the rap kids.
I played it at CBGB's.
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 Kool G Rap & DJ Polo. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Kango’s Stein Massive 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 '50s cut and another box set from the '80s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Kool Moe Dee record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rod Modell,
Idris Muhammad,
Donald Byrd,
The Barracudas,
Glenn Branca,
Ituana,
10cc,
the Swans,
Motorama,
The Jesus and Mary Chain,
Pierre Henry,
The Cramps,
UT,
Q and Not U,
Livin' Joy,
Basic Channel,
The Cure,
Boogie Down Productions,
Davy DMX,
The Modern Lovers,
Schoolly D,
Fatback Band,
Pussy Galore,
L. Decosne,
U.S. Maple,
The Real Kids,
Glambeats Corp.,
Sexual Harrassment,
Robert Hood,
Agitation Free,
Adolescents,
Gang Green,
Flamin' Groovies,
R.M.O.,
Eli Mardock,
Gian Franco Pienzio,
The Fire Engines,
David McCallum,
Goldenarms,
Alton Ellis,
Erasure,
The Vogues,
Tears for Fears,
The Alarm Clocks,
H. Thieme,
Bootsy Collins,
David Bowie,
Soul Sonic Force,
Albert Ayler,
Roy Ayers Ubiquity,
Dual Sessions,
Shuggie Otis,
Pantytec,
Lower 48,
Depeche Mode,
Black Pus,
Peter Gordon & Love of Life Orchestra,
Mark Hollis,
Spandau Ballet,
Tom Boy,
Rotary Connection,
Anthony Braxton,
Deadbeat,
The Blackbyrds, The Blackbyrds, The Blackbyrds, The Blackbyrds.
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.