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 Jamaica and from Lille.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Manila and Milan.
I'm losing my edge to the art-school Tokyo 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 Fatback Band to the jazz 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 New York Dolls. All the underground hits.
All Funky Four + One tracks. I heard you have a vinyl of every AZ record on German import.
I heard that you have a white label of every seminal rock 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 synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gabor Szabo,
Adolescents,
Andrew Hill,
Sad Lovers and Giants,
UT,
The Knickerbockers,
Electric Prunes,
Accadde A,
Carl Craig,
This Heat,
Mission of Burma,
Robert Görl,
Grandmaster Flash and the Furious Five,
World's Most,
Sonny Sharrock,
Deepchord,
Peter and Kerry,
Jacques Brel,
Sam Rivers,
Depeche Mode,
Junior Murvin,
Duran Duran,
Kango’s Stein Massive,
The Techniques,
Tears for Fears,
Colin Newman,
The Black Dice,
Country Teasers,
Motorama,
Vainqueur,
Monks,
Andrew Ashong & Theo Parrish,
Parry Music,
Qualms,
Graham Central Station,
Fat Boys,
The Durutti Column,
Prince Buster,
Chrome,
Jeru the Damaja,
Jesper Dahlbäck,
Gang Starr,
Sun Ra Arkestra,
Visage,
Panda Bear,
The Names,
Piero Umiliani,
Harmonia,
Unrelated Segments,
New Order,
Desert Stars,
The Move,
DNA,
Moby Grape,
Radiopuhelimet,
Nik Kershaw,
Hoover,
The Peanut Butter Conspiracy,
Unwound,
James White and The Blacks,
Amon Düül II,
Lizzy Mercier Descloux,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.