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 Haiti and from Glasgow.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Spokane and Stockholm.
I'm losing my edge to the art-school Lagos 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 snare 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 Rapeman 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 Rufus Thomas. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every Boogie Down Productions record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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 Sound,
Lee Hazlewood,
Ludus,
Deutsch Amerikanische Freundschaft,
The Golliwogs,
Nation of Ulysses,
OOIOO,
Lou Christie,
The Happenings,
KRS-One,
Radio Birdman,
Fatback Band,
Radiohead,
The Mighty Diamonds,
Electric Prunes,
Rekid,
Marc Romboy vs. Booka Shade,
Surgeon,
Loose Ends,
Max Romeo,
Connie Case,
Althea and Donna,
Black Moon,
Swans,
Man Eating Sloth,
the Association,
Siglo XX,
Dual Sessions,
Scion,
The Blues Magoos,
Ash Ra Tempel,
Skriet,
Arcadia,
The Slits,
Yazoo,
Gang Starr,
Brothers Johnson,
Steve Hackett,
Lizzy Mercier Descloux,
Cluster,
Gian Franco Pienzio,
Magazine,
Vaughan Mason & Crew,
Marvin Gaye,
Leonard Cohen,
James White and The Blacks,
Crooked Eye,
Idris Muhammad,
New York Dolls,
Pantaleimon,
Rahsaan Roland Kirk,
Johnny Clarke,
The Pop Group,
Hasil Adkins,
Eddi Front,
Terrestrial Tones,
Depeche Mode,
Desert Stars,
Hardrive,
Jesper Dahlback,
Ice-T,
Angels of Light & Akron/Family,
Ultravox,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.