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 Uganda and from Stockholm.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Bremen and Hong Kong.
I'm losing my edge to the art-school Salvador 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 spring reverb 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 Barrington Levy to the grunge kids.
I played it at the Astoria.
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 Hashim. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every Alice Coltrane 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Gang Gang Dance,
Aswad,
Kerri Chandler,
Marine Girls,
Quando Quango,
Yusef Lateef,
Bang On A Can,
Ultra Naté,
Frankie Knuckles,
Franke,
Morten Harket,
Arab on Radar,
Prince Buster,
Ornette Coleman,
Barclay James Harvest,
Section 25,
Public Enemy,
David Bowie,
In Retrospect,
Pete Rock & C.L. Smooth,
Siouxsie and the Banshees,
Thompson Twins,
the Swans,
Das Ding,
Cameo,
Loose Ends,
Jawbox,
Deakin,
T. Rex,
Jerry Gold Smith,
Matthew Bourne,
Johnny Clarke,
Sparks,
Bush Tetras,
Kool G Rap & DJ Polo,
Saccharine Trust,
Amon Düül II,
Manfred Mann's Earth Band,
Patti Smith,
Gregory Isaacs,
David Axelrod,
ABC,
Harpers Bizarre,
kango's stein massive,
Hoover,
The Monks,
the Human League,
Unrelated Segments,
Icehouse,
The Happenings,
Marmalade,
Infiniti,
Massinfluence,
The Mighty Diamonds,
Unwound,
Sun City Girls,
Eurythmics,
Pet Shop Boys,
The Moody Blues,
Pussy Galore,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.