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 Mongolia and from Portland.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Houston and Bremen.
I'm losing my edge to the art-school Taipei 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the 808 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 Busters to the punk 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 The Mighty Diamonds. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Jeff Mills 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Slick Rick 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?
Von Mondo,
Ronnie Foster,
Rakim,
Brass Construction,
Blossom Toes,
DeepChord presents Echospace,
June of 44,
Bill Near,
Big Daddy Kane,
Kool Moe Dee,
Lucky Dragons,
Deutsch Amerikanische Freundschaft,
Hot Snakes,
Q65,
Nico,
Minutemen,
Glambeats Corp.,
The Shadows of Knight,
Laurel Aitken,
The Happenings,
Scion,
Desert Stars,
Cheater Slicks,
Cameo,
The Fuzztones,
Ash Ra Tempel,
Monolake,
Harry Pussy,
Nas,
Fear,
Wolf Eyes,
Letta Mbulu,
Michelle Simonal,
Reuben Wilson,
The Detroit Cobras,
Ice-T,
B.T. Express,
Traffic Nightmare,
Bootsy's Rubber Band,
Fugazi,
Marine Girls,
Bizarre Inc.,
New York Dolls,
Make Up,
Siglo XX,
Eric Dolphy,
Tom Boy,
Saccharine Trust,
Avey Tare & Kría Brekkan,
Blancmange,
Anthony Braxton,
Cluster,
X-Ray Spex,
London Community Gospel Choir,
Jimmy McGriff,
Fifty Foot Hose,
Liaisons Dangereuses,
Sexual Harrassment,
Hasil Adkins,
The Barracudas,
The Techniques,
Q and Not U,
Y Pants,
Television Personalities,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.