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 Paraguay and from Winnipeg.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Lyon and Toronto.
I'm losing my edge to the art-school Jakarta 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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin 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 Liaisons Dangereuses to the rock 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 James Chance & The Contortions. All the underground hits.
All Aural Exciters tracks. I heard you have a vinyl of every The Seeds record on German import.
I heard that you have a white label of every seminal crunk 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 a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your snare and bought a 808.
I hear that you and your band have sold your 808 and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pete Rock & C.L. Smooth,
The Young Rascals,
Jeff Mills,
Man Parrish,
Marc Romboy vs. Booka Shade,
Gabor Szabo,
Roger Hodgson,
Minny Pops,
Beasts of Bourbon,
The Names,
Trumans Water,
Max Romeo,
F. McDonald,
X-102,
Echo & the Bunnymen,
Scratch Acid,
Kool Moe Dee,
Ornette Coleman,
ABC,
The Selecter,
The Kinks,
Albert Ayler,
Sugar Minott,
The Fugs,
The Flesh Eaters,
Girls At Our Best!,
London Community Gospel Choir,
The Walker Brothers,
Yazoo,
The Smoke,
Idris Muhammad,
Roy Ayers Ubiquity,
Sex Pistols,
Peter and Kerry,
Henry Cow,
Smog,
The Last Poets,
Khruangbin,
Hasil Adkins,
Newcleus,
Mandrill,
The Cosmic Jokers,
Black Sheep,
Black Pus,
The Fortunes,
Lindisfarne,
Wire,
the Human League,
Todd Rundgren,
Throbbing Gristle,
Suicide,
Notorious BIG live in Amsterdam,
Ronnie Foster,
Judy Mowatt,
The Monochrome Set,
Vladislav Delay,
Rosa Yemen,
Barry Ungar,
Deutsch Amerikanische Freundschaft,
The Blues Magoos,
Yaz, Yaz, Yaz, Yaz.
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.