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 Gabon and from Stockholm.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Salvador and Copenhagen.
I'm losing my edge to the art-school Madrid 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Bill Near to the crunk kids.
I played it at the Roxy.
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 Underground Resistance. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every The Monks record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rahsaan Roland Kirk,
Rhythm & Sound,
Los Fastidios,
Cecil Taylor,
Ronan,
Lee Hazlewood,
Matthew Bourne,
Brick,
Blancmange,
Notorious Big And Bone Thugs,
Albert Ayler,
Captain Beefheart & His Magic Band,
F. McDonald,
Depeche Mode,
The Monks,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Gun Club,
Tommy Roe,
Roy Ayers,
Ludus,
Matthew Halsall,
Sandy B,
Magazine,
Fat Boys,
KRS-One,
Motorama,
Fatback Band,
Marmalade,
Camouflage,
Rotary Connection,
Don Cherry,
Juan Atkins,
Radiopuhelimet,
Smog,
The Fuzztones,
Duran Duran,
China Crisis,
Gian Franco Pienzio,
Jerry's Kids,
The Raincoats,
Tomorrow,
the Soft Cell,
Guru Guru,
Ossler,
Clear Light,
Camron Feat. Jay Z And Juelz,
Gastr Del Sol,
Pussy Galore,
Kevin Saunderson,
Marc Romboy vs. Booka Shade,
Jeff Lynne,
Stetsasonic,
Funky Four + One,
Ornette Coleman,
Joensuu 1685,
Wings,
Sam Rivers,
Heavy D & The Boyz,
The Velvet Underground,
Mantronix, Mantronix, Mantronix, Mantronix.
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.