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 Palau and from Edmonton.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Tehran.
I'm losing my edge to the art-school Columbus 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the spring reverb sounds with much patience.
I was there when David Bowie 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 Brothers Johnson to the rap 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 Rufus Thomas. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every Kaleidoscope record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade 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?
Minnie Riperton,
Dawn Penn,
Gil Scott-Heron & Brian Jackson,
Lalann,
Schoolly D,
The Cowsills,
Skaos,
Cymande,
Minny Pops,
Scion,
The Star Department,
Los Fastidios,
Johnny Clarke,
Masters at Work,
Flipper,
Con Funk Shun,
Mars,
Bronski Beat,
Notorious BIG live in Amsterdam,
Essential Logic,
Rakim,
Crispian St. Peters,
Flamin' Groovies,
Trumans Water,
Stiv Bators,
Groovy Waters,
Absolute Body Control,
Juan Atkins,
Visage,
Freddie Wadling,
Don Cherry,
The Move,
Super Lover Cee & Casanova Rud,
Bill Wells,
Lou Reed & John Cale,
Lakeside,
Thinking Fellers Union Local 282,
Anakelly,
Alphaville,
Subhumans,
Brass Construction,
The Mummies,
Jesper Dahlbäck,
Sight & Sound,
Gil Scott Heron,
Patti Smith,
Spoonie Gee,
The Real Kids,
The Victims,
Selector Dub Narcotic,
The Happenings,
The Shadows of Knight,
Ponytail,
MC5,
Tropical Tobacco,
Bobby Hutcherson,
Faust,
The Zeros,
Youth Brigade,
Cecil Taylor,
Monolake,
Iggy Pop,
Wighnomy Brothers & Robag Wruhme, Wighnomy Brothers & Robag Wruhme, Wighnomy Brothers & Robag Wruhme, Wighnomy Brothers & Robag Wruhme.
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.