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 Tehran.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1979.
I'm losing my edge.
To all the kids in Cairo and Beijing.
I'm losing my edge to the art-school London 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the harpsichord sounds with much patience.
I was there when Holger Czukay 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 Gian Franco Pienzio to the grime kids.
I played it at the Spitz.
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 Brand Nubian. All the underground hits.
All Flipper tracks. I heard you have a vinyl of every Stockholm Monsters record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
Sandy B,
Gichy Dan,
Negative Approach,
Little Man,
Alice Coltrane,
The Gories,
Hasil Adkins,
Erykah Badu,
Kerrie Biddell,
The Vogues,
Black Moon,
Mandrill,
Unwound,
Bill Wells,
Sonny Sharrock,
Anthony Braxton,
Thee Headcoats,
The Raincoats,
Neil Young & Crazy Horse,
Thinking Fellers Union Local 282,
Rakim,
Barbara Tucker,
Rhythim Is Rhythim,
Lakeside,
MDC,
The Slits,
Underground Resistance,
Parry Music,
The Index,
The Busters,
F. McDonald,
Marcia Griffiths,
Crash Course in Science,
Shuggie Otis,
Fat Boys,
Jimmy McGriff,
Zero Boys,
Jeru the Damaja,
Joy Division,
Lonnie Liston Smith,
Half Japanese,
The Fortunes,
Brick,
Country Joe & The Fish,
The Human League,
48th St. Collective,
Rapeman,
Juan Atkins,
Manfred Mann's Earth Band,
Eddi Front,
Jerry's Kids,
John Cale,
Bluetip,
The Offenders,
Harpers Bizarre,
Amon Düül,
The Monochrome Set,
Roxette,
Avey Tare's Slasher Flicks,
Wally Richardson,
Slick Rick,
Deakin, Deakin, Deakin, Deakin.
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.