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 South Africa and from Bologna.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Manila.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the güiro 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 Brothers Johnson to the crunk 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 Gregory Isaacs. All the underground hits.
All Neil Young & Crazy Horse tracks. I heard you have a vinyl of every Crooked Eye record on German import.
I heard that you have a white label of every seminal techno 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 an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a L. Decosne record.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Piero Umiliani,
Nas,
Sarah Menescal,
Motorama,
Wasted Youth,
Rakim,
Lizzy Mercier Descloux,
Kango’s Stein Massive,
James White and The Blacks,
Man Eating Sloth,
Brand Nubian,
Grey Daturas,
Y Pants,
Underground Resistance,
Reuben Wilson,
The Red Krayola,
Moebius,
Kenny Larkin,
Funkadelic,
Wings,
June of 44,
Flipper,
Oblivians,
Intrusion,
Rhythm & Sound,
Second Layer,
The Durutti Column,
Japan,
The Gun Club,
La Düsseldorf,
Camron Feat. Jay Z And Juelz,
Sun Ra Arkestra,
48th St. Collective,
John Foxx,
The Motions,
Yellowson,
This Heat,
Don Cherry,
Spandau Ballet,
Kevin Saunderson,
Robert Görl,
Robert Hood,
Bush Tetras,
Slick Rick,
Con Funk Shun,
Hashim,
Pierre Henry,
Lindisfarne,
Ultravox,
Monks,
Television,
Cymande,
Angry Samoans,
Justin Hinds & The Dominoes,
Roger Hodgson,
The Fortunes,
Avey Tare's Slasher Flicks,
The J.B.'s,
Grandmaster Flash and the Furious Five,
Pantaleimon,
Röyhkä ja Rättö ja Lehtisalo,
Junior Murvin,
The Human League,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.