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 Eritrea and from Accra.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1962 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Beijing.
I'm losing my edge to the art-school Jakarta 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum sounds with much patience.
I was there when Robert Palmer 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 Strawberry Alarm Clock to the rap 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 Aaron Thompson. All the underground hits.
All Sam Rivers tracks. I heard you have a vinyl of every Juan Atkins 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your güiro and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Toasters,
Lyres,
Janne Schatter,
The Cure,
Kool G Rap & DJ Polo,
DJ Style,
David McCallum,
Warsaw,
Angry Samoans,
Boogie Down Productions,
Stiv Bators,
Bill Wells,
Fort Wilson Riot,
Cybotron,
Slick Rick,
Carl Craig,
Flash Fearless,
Ludus,
F. McDonald,
The Black Dice,
Unrelated Segments,
Gary Puckett & The Union Gap,
Kenny Larkin,
Sad Lovers and Giants,
X-101,
Mars,
The Count Five,
The Moody Blues,
Rowland S Howard / Lydia Lunch,
The Tremeloes,
Barrington Levy,
Pharoah Sanders,
Sight & Sound,
Joe Smooth,
The Men They Couldn't Hang,
The Buckinghams,
Pharaoh Sanders and the Fire Engines,
Lou Reed,
The Trojans,
Eurythmics,
Matthew Halsall,
Black Moon,
The Star Department,
The Monochrome Set,
Eyeless In Gaza,
Brand Nubian,
Johnny Osbourne,
Curtis Mayfield,
Anakelly,
Aswad,
Strawberry Alarm Clock,
Mad Mike,
Barry Ungar,
Gang Gang Dance,
Barclay James Harvest,
Brass Construction,
Infiniti,
cv313,
Nico,
Mary Jane Girls,
De La Soul & Jungle Brothers,
Kango’s Stein Massive,
John Cale,
Kool Moe Dee,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.