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 Sri Lanka and from Lagos.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1975.
I'm losing my edge.
To all the kids in Halifax and Shanghai.
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 1976 at the first Chic practice in a loft in New York.
I was working on the snare 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 Grey Daturas to the jazz kids.
I played it at Cafe Wha.
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 Duran Duran. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every Lebanon Hanover 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 '70s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Soft Cell record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Flesh Eaters,
ABBA,
Sister Nancy,
Main Source,
The Litter,
Warren Ellis,
Sixth Finger,
Todd Terry,
Cameo,
Charles Mingus,
Masters at Work,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lonnie Liston Smith,
Echo & the Bunnymen,
Matthew Bourne,
Blossom Toes,
Kurtis Blow,
Crime,
The Blues Magoos,
The Star Department,
Funkadelic,
Archie Shepp,
The Mummies,
Sex Pistols,
Susan Cadogan,
Sonny Sharrock,
Liliput,
Pagans,
Robert Hood,
Brass Construction,
The Birthday Party,
Kerri Chandler,
The Fire Engines,
The Gories,
The Young Rascals,
Andrew Ashong & Theo Parrish,
Gil Scott-Heron and Jamie xx,
Joe Finger,
The Divine Comedy,
Nik Kershaw,
Newcleus,
Kool Moe Dee,
Y Pants,
Goldenarms,
The Doors,
Bill Wells,
Ornette Coleman,
The Associates,
Pantaleimon,
Rapeman,
H. Thieme,
Joey Negro,
cv313,
Curtis Mayfield,
Drive Like Jehu,
Fela Kuti,
Ludus,
Black Pus,
Index,
Pylon,
Notorious BIG live in Amsterdam,
The Cosmic Jokers,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.