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 Nepal and from Lyon.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Manchester and Woodstock.
I'm losing my edge to the art-school Cairo 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 The Star Department to the techno 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 Robert Hood. All the underground hits.
All Rahsaan Roland Kirk tracks. I heard you have a vinyl of every Kurtis Blow 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 '70s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Donald Byrd record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
Mr. Review,
Icehouse,
Gil Scott Heron,
Bush Tetras,
Camberwell Now,
Darondo,
Funky Four + One,
The Mummies,
Yazoo,
Mad Mike,
Gastr Del Sol,
Accadde A,
The Chocolate Watch Band,
The Cure,
Rhythim Is Rhythim,
Robert Hood,
Ronan,
Toni Rubio,
The Zeros,
The Men They Couldn't Hang,
Interpol,
Tomorrow,
U.S. Maple,
These Immortal Souls,
Ultimate Spinach,
Infiniti,
Reuben Wilson,
Dead Boys,
Joy Division,
Q65,
Crime,
The Toasters,
Popol Vuh,
Neu!,
Bang on a Can All-Stars,
The Fugs,
Vaughan Mason & Crew,
Suburban Knight,
Notorious Big And Bone Thugs,
Peter & Gordon,
Colin Newman,
Aloha Tigers,
Marine Girls,
Severed Heads,
MDC,
Reagan Youth,
JFA,
Ultramagnetic MC's,
Blancmange,
Tommy Roe,
Juan Atkins,
Los Fastidios,
Deepchord,
Yusef Lateef,
Fluxion,
Oneida,
Ken Boothe,
Moby Grape,
The Grass Roots,
Bootsy's Rubber Band,
Kenny Larkin,
Avey Tare's Slasher Flicks,
Boz Scaggs, Boz Scaggs, Boz Scaggs, Boz Scaggs.
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.