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 South Africa and from Tokyo.
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 1975.
I'm losing my edge.
To all the kids in Glasgow and New York.
I'm losing my edge to the art-school Portland 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the clarinet 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 Negative Approach to the grime kids.
I played it at the Astoria.
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 Massinfluence. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Second Layer record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jimmy McGriff,
Electric Prunes,
Lou Reed & Metallica,
Röyhkä ja Rättö ja Lehtisalo,
Thompson Twins,
Yusef Lateef,
David McCallum,
Robert Hood,
Marvin Gaye,
Aural Exciters,
Pole,
Howard Jones,
Mo-Dettes,
One Last Wish,
Sixth Finger,
The Trojans,
Radiopuhelimet,
Don Cherry,
Matthew Bourne,
Dual Sessions,
The Evens,
Popol Vuh,
Section 25,
Slave,
Agitation Free,
the Germs,
The United States of America,
Angels of Light & Akron/Family,
Gil Scott Heron,
The Skatalites,
Robert Wyatt,
Scratch Acid,
Johnny Osbourne,
Delon & Dalcan,
Index,
Gil Scott-Heron and Jamie xx,
The Jesus and Mary Chain,
Sarah Menescal,
Marc Almond,
Nas,
The Golliwogs,
Surgeon,
Graham Central Station,
The Searchers,
Q65,
Bootsy Collins,
Black Sheep,
The Slackers,
Rufus Thomas,
The Durutti Column,
Kango’s Stein Massive,
Deadbeat,
The American Breed,
Symarip,
Orchestral Manoeuvres in the Dark,
Moby Grape,
Wings,
New Order,
Sandy B,
Barry Ungar,
The Sound,
Mandrill,
The Toasters, The Toasters, The Toasters, The Toasters.
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.