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 Tajikistan and from Milan.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Hong Kong.
I'm losing my edge to the art-school Tehran 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 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 Reuben Wilson to the jazz 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 Dual Sessions. All the underground hits.
All Skaos tracks. I heard you have a vinyl of every The Chocolate Watch Band record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Piero Umiliani,
Sad Lovers and Giants,
Joy Division,
8 Eyed Spy,
The Electric Prunes,
The Five Americans,
Dennis Brown,
Man Eating Sloth,
The Fall,
Gang Green,
Connie Case,
Television,
June Days,
Drexciya,
Nik Kershaw,
Monks,
Oblivians,
The Doors,
Jacques Brel,
the Association,
The Golliwogs,
It's A Beautiful Day,
Heavy D & The Boyz,
Kas Product,
Mo-Dettes,
Patti Smith,
Godley & Creme,
Jimmy McGriff,
Soulsonic Force,
Red Lorry Yellow Lorry,
Electric Prunes,
The Dead C,
Eli Mardock,
Eric Copeland,
Section 25,
Bob Dylan,
Eyeless In Gaza,
John Coltrane,
Mission of Burma,
Thompson Twins,
The Moody Blues,
Banda Bassotti,
Zero Boys,
Albert Ayler,
Gang Gang Dance,
Cecil Taylor,
Nils Olav,
Minnie Riperton,
China Crisis,
The Gap Band,
PIL,
Glambeats Corp.,
K-Klass,
Sly & The Family Stone,
Minor Threat,
Tubeway Army,
The Raincoats,
Al Stewart,
Eddi Front,
Theoretical Girls,
48th St. Collective,
The Blackbyrds,
The Buckinghams, The Buckinghams, The Buckinghams, The Buckinghams.
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.