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 Nigeria and from Sao Paulo.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Tehran and Cairo.
I'm losing my edge to the art-school Philadelphia 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Kurtis Blow 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 Ten City. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Scrapy record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mr. Review,
London Community Gospel Choir,
Moebius,
Piero Umiliani,
Dave Gahan,
Agent Orange,
Amazonics,
Niagra,
The Victims,
Tears for Fears,
Index,
Fort Wilson Riot,
Donald Byrd,
The Durutti Column,
The Gladiators,
Pylon,
One Last Wish,
Rhythm & Sound,
Gang of Four,
David Axelrod,
Ultravox,
Eve St. Jones,
Flash Fearless,
The Real Kids,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Slits,
Japan,
Television Personalities,
Minny Pops,
Flamin' Groovies,
a-ha,
Ralphi Rosario,
Erasure,
The Red Krayola,
Girls At Our Best!,
Jerry's Kids,
The Gap Band,
The Associates,
Janne Schatter,
B.T. Express,
Marmalade,
D'Angelo,
Tubeway Army,
Motorama,
Pete Rock & C.L. Smooth,
Con Funk Shun,
Quando Quango,
Nils Olav,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Gang Starr,
Althea and Donna,
Mantronix,
Rosa Yemen,
Quadrant,
The Invisible,
Matthew Bourne,
Warsaw,
Be Bop Deluxe,
Organ, Organ, Organ, Organ.
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.