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 Bahamas and from Madrid.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Lagos and Columbus.
I'm losing my edge to the art-school Glasgow 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the rhodes sounds with much patience.
I was there when Donald Fagen 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 Curtis Mayfield to the crunk kids.
I played it at CBGB's.
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 The Detroit Cobras. All the underground hits.
All Easy Going tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Joe & The Fish,
The Sound,
Babytalk,
PIL,
Audionom,
Kool G Rap & DJ Polo,
Pharaoh Sanders and the Fire Engines,
Chris Corsano,
The Modern Lovers,
Kerri Chandler,
The Trojans,
Crooked Eye,
Monks,
Pantaleimon,
Alison Limerick,
The Alarm Clocks,
Joe Finger,
The Leaves,
James Chance & The Contortions,
Technova,
Masters at Work,
The Neon Judgement,
Y Pants,
Soul Sonic Force,
Johnny Clarke,
The Young Rascals,
UT,
Mad Mike,
Piero Umiliani,
Robert Wyatt,
U.S. Maple,
Rufus Thomas,
Black Bananas,
Louis and Bebe Barron,
The Buckinghams,
James White and The Blacks,
Gil Scott Heron,
MC5,
Nation of Ulysses,
Kenny Larkin,
Soft Cell,
Bobby Hutcherson,
Black Flag,
DNA,
Yusef Lateef,
Grandmaster Flash and the Furious Five,
Oneida,
Fluxion,
OOIOO,
Brass Construction,
the Germs,
Carl Craig,
Deadbeat,
Unrelated Segments,
Aural Exciters,
The Blues Magoos,
Pete Rock & C.L. Smooth,
The Grass Roots,
Dead Boys,
Barclay James Harvest,
Ituana,
The Mummies,
Television Personalities, Television Personalities, Television Personalities, Television Personalities.
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.