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 Dominica and from Shanghai.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Houston.
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 Chic practice in a loft in New York.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Cal Tjader to the funk kids.
I played it at the Crocodile.
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 Seeds. All the underground hits.
All David McCallum tracks. I heard you have a vinyl of every Eric Dolphy record on German import.
I heard that you have a white label of every seminal jazz 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 snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
Inner City,
The Dead C,
Pere Ubu,
Terrestrial Tones,
The Techniques,
Barry Ungar,
Frankie Knuckles,
Negative Approach,
Gang Green,
The Motions,
X-102,
Lou Reed & John Cale,
Tom Boy,
Monks,
Selector Dub Narcotic,
Monolake,
Liliput,
Fela Kuti,
Section 25,
Marc Romboy vs. Booka Shade,
Joe Finger,
David McCallum,
Brothers Johnson,
The Blackbyrds,
Kauko Röyhkä ja Narttu,
Black Moon,
MC5,
Kool Moe Dee,
Aural Exciters,
Harpers Bizarre,
Josef K,
Black Sheep,
Judy Mowatt,
the Soft Cell,
June Days,
Yusef Lateef,
Nico,
The Fortunes,
Lucky Dragons,
Grey Daturas,
Soft Cell,
Guru Guru,
Camron Feat. Memphis Bleek And Beenie Seigel,
Khruangbin,
Magma,
Camron Feat. Jay Z And Juelz,
It's A Beautiful Day,
The Mummies,
Symarip,
EPMD,
10cc,
Deepchord,
Fat Boys,
Lindisfarne,
Piero Umiliani,
Major Organ And The Adding Machine,
Mary Jane Girls,
Ken Boothe,
Jeru the Damaja,
Derrick Morgan,
The Dave Clark Five,
Index, Index, Index, Index.
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.