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 Nicaragua and from Lille.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1975.
I'm losing my edge.
To all the kids in Madrid and Johannesburg.
I'm losing my edge to the art-school Edmonton 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 1978 at the first Visage practice in a loft in London.
I was working on the güiro 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 Main Source to the punk kids.
I played it at the 40 Watt.
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 Heavy D & The Boyz. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every Oneida record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Kerri Chandler record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angry Samoans,
Siglo XX,
Sex Pistols,
Drexciya,
Clear Light,
UT,
Jesper Dahlbäck,
Slick Rick,
Lakeside,
Nation of Ulysses,
Section 25,
The Busters,
the Bar-Kays,
Notorious Big And Bone Thugs,
Television,
MC5,
Kool G Rap & DJ Polo,
Amon Düül,
Y Pants,
Marvin Gaye,
ABC,
The Fortunes,
Marc Romboy vs. Booka Shade,
Funky Four + One,
Roy Ayers Ubiquity,
Stetsasonic,
This Heat,
Deadbeat,
Dave Gahan,
Sun Ra,
Suburban Knight,
Thee Headcoats,
Kevin Saunderson,
Scrapy,
Ash Ra Tempel,
Rotary Connection,
The Chocolate Watch Band,
Sugar Minott,
Rakim,
Laurel Aitken,
Ludus,
Jacques Brel,
Deutsch Amerikanische Freundschaft,
Heavy D & The Boyz,
Zero Boys,
The Motions,
Qualms,
David McCallum,
Aural Exciters,
Crooked Eye,
Duran Duran,
The Invisible,
Eric Dolphy,
Red Lorry Yellow Lorry,
Unrelated Segments,
Hoover,
Piero Umiliani,
F. McDonald,
La Düsseldorf,
8 Eyed Spy,
Eddi Front,
Curtis Mayfield, Curtis Mayfield, Curtis Mayfield, Curtis Mayfield.
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.