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 Papua New Guinea and from Delhi.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Mumbai.
I'm losing my edge to the art-school Johannesburg 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the guitar sounds with much patience.
I was there when Nile Rodgers 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 Delta 5 to the grime 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 Fort Wilson Riot. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every Wally Richardson 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 '90s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Motorama record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Country Teasers,
Eve St. Jones,
The Slackers,
Bill Wells,
the Bar-Kays,
Minutemen,
Excepter,
Freddie Wadling,
Albert Ayler,
Bobby Byrd,
Sandy B,
Kurtis Blow,
U.S. Maple,
Vainqueur,
Art Ensemble Of Chicago,
Underground Resistance,
Kerri Chandler,
Lizzy Mercier Descloux,
Scientists,
Nils Olav,
Public Image Ltd.,
David Axelrod,
Television Personalities,
Country Joe & The Fish,
Terror Squad Feat. Camron,
Minnie Riperton,
Mark Hollis,
John Foxx,
The Sisters of Mercy,
The Seeds,
Derrick May,
Lyres,
Talk Talk,
The J.B.'s,
Jacob Miller,
Livin' Joy,
Lungfish,
Quando Quango,
Chris Corsano,
the Soft Cell,
Kevin Saunderson,
Sticky Fingaz feat. Raekwon,
The West Coast Pop Art Experimental Band,
London Community Gospel Choir,
UT,
Drive Like Jehu,
Nick Fraelich,
Procol Harum,
10cc,
Trumans Water,
Swell Maps,
The Moody Blues,
Pete Rock & C.L. Smooth,
Cabaret Voltaire,
Scion,
Jesper Dahlback,
Main Source,
Marcia Griffiths,
Todd Terry,
Kango’s Stein Massive,
Ronan,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.