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 Japan and from Houston.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Beijing and Milan.
I'm losing my edge to the art-school Bologna 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the snare 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 Ken Boothe to the crunk kids.
I played it at CBGB's.
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 K-Klass. All the underground hits.
All Eli Mardock tracks. I heard you have a vinyl of every Tom Boy 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 '70s cut and another box set from the '80s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker,
The West Coast Pop Art Experimental Band,
L. Decosne,
FM Einheit,
Newcleus,
Organ,
Bobby Byrd,
Severed Heads,
Yusef Lateef,
Cal Tjader,
Rites of Spring,
Don Cherry,
Fela Kuti,
Dr. Dre and Snoop Doggy Dog,
Andrew Ashong & Theo Parrish,
The Cowsills,
The Doobie Brothers,
Hoover,
Jesper Dahlbäck,
Gil Scott Heron,
The Fortunes,
Alton Ellis,
Avey Tare's Slasher Flicks,
Liaisons Dangereuses,
the Germs,
The Mojo Men,
The Pretty Things,
Tubeway Army,
Quando Quango,
Young Marble Giants,
Circle Jerks,
The Fuzztones,
Bauhaus,
Parry Music,
Alphaville,
Pagans,
Lindisfarne,
Accadde A,
Pole,
AZ,
Television,
The Men They Couldn't Hang,
The Litter,
Rapeman,
Jeff Mills,
Whodini,
ABBA,
Bobby Womack,
cv313,
Funkadelic,
Hardrive,
Faust,
Joensuu 1685,
Sister Nancy,
Henry Cow,
Roy Ayers Ubiquity,
Joe Smooth,
Roxette,
Los Fastidios,
Kool Moe Dee,
Chris Corsano,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.