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 Jordan and from Woodstock.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Calgary and Accra.
I'm losing my edge to the art-school Philadelphia 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 Louis and Bebe Barron 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 D'Angelo. All the underground hits.
All Lindisfarne tracks. I heard you have a vinyl of every Byron Stingily 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Groovy Waters record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
Donald Byrd,
Skarface,
Masters at Work,
The Moleskins,
Spandau Ballet,
Gang Starr,
The Durutti Column,
the Association,
Wighnomy Brothers & Robag Wruhme,
Agent Orange,
Dark Day,
Electric Prunes,
Basic Channel,
D'Angelo,
Gregory Isaacs,
Thinking Fellers Union Local 282,
Amon Düül II,
Schoolly D,
Siouxsie and the Banshees,
Lalo Schifrin,
Terry Callier,
Radiopuhelimet,
The Birthday Party,
Fugazi,
Juan Atkins,
Q and Not U,
Notorious Big And Bone Thugs,
The Motions,
Angry Samoans,
DeepChord presents Echospace,
Siglo XX,
Ken Boothe,
Severed Heads,
The American Breed,
Ultravox,
L. Decosne,
Stetsasonic,
Wolf Eyes,
the Sonics,
Babytalk,
Major Organ And The Adding Machine,
Heaven 17,
Unrelated Segments,
Notorious BIG live in Amsterdam,
The Sound,
The Velvet Underground,
Dead Boys,
Visage,
Joe Smooth,
The Detroit Cobras,
Crooked Eye,
Flash Fearless,
Aloha Tigers,
Freddie Wadling,
Vladislav Delay,
Sun Ra,
Ultimate Spinach,
Letta Mbulu,
Funkadelic,
Super Lover Cee & Casanova Rud,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.