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 Mongolia and from Mumbai.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 Glasgow and Lyon.
I'm losing my edge to the art-school Portland 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 marimba sounds with much patience.
I was there when Lou Reed 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 Eric B and Rakim to the jazz 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 One Last Wish. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every the Bar-Kays record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Larry & the Blue Notes record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
Beasts of Bourbon,
Tubeway Army,
Slave,
Parry Music,
The Birthday Party,
Connie Case,
Swans,
The Happenings,
Public Image Ltd.,
The Gories,
Icehouse,
the Association,
Smog,
Judy Mowatt,
Bizarre Inc.,
Interpol,
Audionom,
Lower 48,
Con Funk Shun,
Das Ding,
Carl Craig,
Ludus,
Talk Talk,
Reagan Youth,
Pagans,
E-Dancer,
Stiv Bators,
Moss Icon,
Qualms,
Sticky Fingaz feat. Raekwon,
The Chocolate Watch Band,
Alison Limerick,
Barry Ungar,
Camron Feat. Memphis Bleek And Beenie Seigel,
Neu!,
Prince Buster,
ABBA,
Deadbeat,
Scratch Acid,
Tres Demented,
The Doors,
The Searchers,
Mr. Review,
Teenage Jesus and the Jerks,
The Fire Engines,
DJ Sneak,
Freddie Wadling,
Major Organ And The Adding Machine,
Half Japanese,
Chris & Cosey,
Bluetip,
David McCallum,
Unrelated Segments,
Derrick Morgan,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
New York Dolls,
The Litter,
Throbbing Gristle,
Bronski Beat,
Neil Young,
The Golliwogs, The Golliwogs, The Golliwogs, The Golliwogs.
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.