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 Eritrea and from Lille.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1962 to 1971.
I'm losing my edge.
To all the kids in Lyon and Houston.
I'm losing my edge to the art-school Salvador 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 at the first Suicide practice in a loft in New York.
I was working on the güiro sounds with much patience.
I was there when Nile Rodgers 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 Masters at Work to the jazz kids.
I played it at the Spitz.
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 Essential Logic. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every The Smiths 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 '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rufus Thomas,
Gerry Rafferty,
Unwound,
Minnie Riperton,
Tomorrow,
Ohio Players,
Swell Maps,
Khruangbin,
Rapeman,
Glenn Branca,
Barbara Tucker,
Animal Collective,
Pulsallama,
AZ,
Amon Düül,
Steve Hackett,
Bluetip,
Funkadelic,
Oneida,
June of 44,
Sparks,
Infiniti,
Delta 5,
La Düsseldorf,
Sly & The Family Stone,
Masters at Work,
The Happenings,
Subhumans,
Harry Pussy,
The Saints,
Kas Product,
Patti Smith,
the Human League,
Fatback Band,
Jeff Mills,
Cymande,
New Age Steppers,
Television Personalities,
Arthur Verocai,
Agitation Free,
PIL,
Tom Boy,
Dennis Brown,
The Dirtbombs,
John Lydon,
Gil Scott Heron,
Pierre Henry,
Bootsy Collins,
F. McDonald,
Mary Jane Girls,
Ituana,
Magma,
The Smoke,
De La Soul & Jungle Brothers,
Fifty Foot Hose,
the Fania All-Stars,
Saccharine Trust,
UT,
Ornette Coleman,
The Names,
Electric Light Orchestra,
Sonny Sharrock, Sonny Sharrock, Sonny Sharrock, Sonny Sharrock.
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.