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 Mozambique and from Lagos.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1970.
I'm losing my edge.
To all the kids in Stockholm and Cairo.
I'm losing my edge to the art-school Shanghai 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 The Sound to the rap kids.
I played it at the Spitz.
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 Faraquet. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every Yusef Lateef 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Maurizio record.
I hear that you and your band have sold your theremin and bought an organ.
I hear that you and your band have sold your organ and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Bobbi Humphrey,
Terror Squad Feat. Camron,
The Happenings,
Eyeless In Gaza,
Franke,
Marmalade,
Ronan,
Jeru the Damaja,
Eric Dolphy,
The Men They Couldn't Hang,
Electric Prunes,
The Saints,
Faust,
Manfred Mann's Earth Band,
Idris Muhammad,
Ken Boothe,
R.M.O.,
Scratch Acid,
Deadbeat,
Black Bananas,
The Selecter,
The Techniques,
Bobby Hutcherson,
James Chance & The Contortions,
Rakim,
Archie Shepp,
Young Marble Giants,
Sister Nancy,
The Move,
Intrusion,
Deepchord,
Boredoms,
Brothers Johnson,
Barry Ungar,
The Fuzztones,
Andrew Ashong & Theo Parrish,
Camouflage,
Reagan Youth,
Lungfish,
New Age Steppers,
The Red Krayola,
Guru Guru,
Echo & the Bunnymen,
KRS-One,
London Community Gospel Choir,
Erasure,
Michelle Simonal,
X-101,
Silicon Teens,
Reuben Wilson,
The Cosmic Jokers,
Hasil Adkins,
Newcleus,
Gang Starr,
The Mojo Men,
Accadde A,
Jacques Brel,
CMW,
Althea and Donna,
Rapeman, Rapeman, Rapeman, Rapeman.
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.