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 Philadelphia.
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 1960 to 1973.
I'm losing my edge.
To all the kids in London and Manila.
I'm losing my edge to the art-school Manila 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the spring reverb 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 Deepchord to the dance kids.
I played it at Trash.
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 Girls At Our Best!. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every Angry Samoans record on German import.
I heard that you have a white label of every seminal disco 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 harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Fat Boys record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Nick Fraelich,
Rekid,
The Fire Engines,
The United States of America,
Fluxion,
A Certain Ratio,
Country Joe & The Fish,
OOIOO,
Nirvana,
Theoretical Girls,
Rhythim Is Rhythim,
Art Ensemble Of Chicago,
Brothers Johnson,
The Sisters of Mercy,
Teenage Jesus and the Jerks,
The Alarm Clocks,
Kaleidoscope,
The Litter,
Grandmaster Flash,
Monolake,
Peter & Gordon,
Terror Squad Feat. Camron,
The Remains,
Swell Maps,
DNA,
Fela Kuti,
kango's stein massive,
The Names,
Yazoo,
Patti Smith,
Suburban Knight,
10cc,
The Music Machine,
Jeru the Damaja,
Amon Düül,
The Doobie Brothers,
Pharaoh Sanders and the Fire Engines,
Quantec,
Pulsallama,
Davy DMX,
Glenn Branca,
Gil Scott Heron,
Derrick Morgan,
Tommy Roe,
The Doors,
The Golliwogs,
Fad Gadget,
Clear Light,
Brass Construction,
Babytalk,
Sunsets and Hearts,
Dennis Brown,
Black Moon,
Adolescents,
Unrelated Segments,
Lafayette Afro Rock Band,
Eve St. Jones,
Funky Four + One,
The Jesus and Mary Chain,
Scion, Scion, Scion, Scion.
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.