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 Italy and from Taipei.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Edmonton.
I'm losing my edge to the art-school Jakarta 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 chamberlin 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 Rhythim Is Rhythim to the techno 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 Essential Logic. All the underground hits.
All The Human League tracks. I heard you have a vinyl of every Terry Callier 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Fugs record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
FM Einheit,
La Düsseldorf,
Black Pus,
Mr. Review,
The Blackbyrds,
Avey Tare's Slasher Flicks,
the Association,
Porter Ricks,
Gil Scott-Heron and Jamie xx,
Lou Christie,
Sexual Harrassment,
Darondo,
Crash Course in Science,
Jacob Miller,
The Velvet Underground,
Underground Resistance,
Pussy Galore,
Justin Hinds & The Dominoes,
PIL,
The Stooges,
Mandrill,
Bobby Hutcherson,
The Mummies,
Sparks,
Scrapy,
The Golliwogs,
In Retrospect,
Ituana,
The Fortunes,
Davy DMX,
Fear,
L. Decosne,
the Bar-Kays,
Deepchord,
Agitation Free,
Eli Mardock,
Marvin Gaye,
Electric Light Orchestra,
Pierre Henry,
Mars,
Nas,
Stetsasonic,
Liaisons Dangereuses,
Matthew Halsall,
Erykah Badu,
Sandy B,
Loose Ends,
Notorious BIG live in Amsterdam,
Accadde A,
Shoche,
Junior Murvin,
Derrick May,
Nik Kershaw,
Joyce Sims,
Joey Negro,
Dr. Dre and Snoop Doggy Dog,
The Gories,
The Saints,
The Sound,
Animal Collective,
Lakeside,
Spandau Ballet,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.