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 Guyana and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1977.
I'm losing my edge.
To all the kids in Glasgow and Mumbai.
I'm losing my edge to the art-school Tehran 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Big Daddy Kane to the jazz 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 Motorama. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every Louis and Bebe Barron record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Pus,
Gil Scott-Heron & Brian Jackson,
Black Sheep,
The Cure,
Wings,
The Seeds,
Dorothy Ashby,
The Motions,
Big Daddy Kane,
The Smiths,
Moss Icon,
EPMD,
The Remains,
Iggy Pop,
John Lydon,
Derrick Morgan,
Warsaw,
Pussy Galore,
Camron Feat. Memphis Bleek And Beenie Seigel,
The New Christs,
Kauko Röyhkä ja Narttu,
Spoonie Gee,
Todd Terry,
Scion,
Maurizio,
Lower 48,
Fear,
Siouxsie and the Banshees,
Harry Pussy,
Fluxion,
Isaac Hayes,
The Angels of Light,
Notorious Big And Bone Thugs,
Stockholm Monsters,
Morten Harket,
Mission of Burma,
The Doobie Brothers,
Louis and Bebe Barron,
The Mummies,
Sonny Sharrock,
Main Source,
Captain Beefheart & His Magic Band,
Sonic Youth,
Pete Rock & C.L. Smooth,
Mr. Review,
Swell Maps,
DJ Style,
The Dave Clark Five,
The Doors,
Faust,
Sparks,
Arab on Radar,
Nico,
Peter Gordon & Love of Life Orchestra,
These Immortal Souls,
John Coltrane,
Kool G Rap & DJ Polo,
Faraquet,
Lou Reed & John Cale,
John Cale,
Bobby Sherman,
Johnny Osbourne,
R.M.O.,
Joey Negro, Joey Negro, Joey Negro, Joey Negro.
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.