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 Mauritania and from Jakarta.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Milan.
I'm losing my edge to the art-school Manchester 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord 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 Underground Resistance to the punk 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 Sandy B. All the underground hits.
All the Sonics tracks. I heard you have a vinyl of every Kool G Rap & DJ Polo record on German import.
I heard that you have a white label of every seminal grunge 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 guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Jacob Miller record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Con Funk Shun,
It's A Beautiful Day,
London Community Gospel Choir,
Thee Headcoats,
Peter and Kerry,
Eyeless In Gaza,
The Shadows of Knight,
Mars,
Pete Rock & C.L. Smooth,
Adolescents,
Sly & The Family Stone,
Suburban Knight,
Albert Ayler,
Neil Young,
Patti Smith,
New Age Steppers,
Barbara Tucker,
Crash Course in Science,
Desert Stars,
Alice Coltrane,
OOIOO,
Selector Dub Narcotic,
Fela Kuti,
Sexual Harrassment,
X-102,
This Heat,
Kool Moe Dee,
Cameo,
The Neon Judgement,
Camouflage,
Roy Ayers Ubiquity,
Terry Callier,
Black Bananas,
Echo & the Bunnymen,
the Soft Cell,
The Dave Clark Five,
Joe Smooth,
Janne Schatter,
Stetsasonic,
The Seeds,
Chris & Cosey,
Cheater Slicks,
Lucky Dragons,
David McCallum,
Faraquet,
The Searchers,
Infiniti,
Tubeway Army,
Gerry Rafferty,
Parry Music,
Richard Hell and the Voidoids,
Sunsets and Hearts,
B.T. Express,
Lizzy Mercier Descloux,
Larry & the Blue Notes,
Mary Jane Girls,
Jacques Brel,
Lungfish,
Faust,
Anakelly,
The Red Krayola,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.