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 Chile and from Johannesburg.
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 1974.
I'm losing my edge.
To all the kids in Accra and Bologna.
I'm losing my edge to the art-school Taipei 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the rhodes 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 Shuggie Otis to the dance 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 Terry Callier. All the underground hits.
All Ronan tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Ice-T record.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Pussy Galore,
Eric B and Rakim,
Scratch Acid,
Camron Feat. Memphis Bleek And Beenie Seigel,
Skriet,
Mr. Review,
Jacques Brel,
Rites of Spring,
The Invisible,
Connie Case,
Q and Not U,
Ponytail,
Eurythmics,
Chrome,
The Star Department,
The Moody Blues,
Oppenheimer Analysis,
Parry Music,
Avey Tare,
MC5,
Max Romeo,
Letta Mbulu,
The Raincoats,
The Toasters,
Toni Rubio,
The Gladiators,
Visage,
E-Dancer,
Glambeats Corp.,
Arthur Verocai,
Porter Ricks,
CMW,
Audionom,
Gabor Szabo,
Röyhkä ja Rättö ja Lehtisalo,
Gang Starr,
New Age Steppers,
The Doobie Brothers,
The Techniques,
Josef K,
Icehouse,
Roy Ayers Ubiquity,
Massinfluence,
Yaz,
Flash Fearless,
Masters at Work,
Fat Boys,
Stockholm Monsters,
The Busters,
Erykah Badu,
Maleditus Sound,
Sonny Sharrock,
Gil Scott-Heron and Jamie xx,
Echospace,
Vainqueur,
Newcleus,
Main Source,
Silicon Teens,
The Fall,
Kenny Larkin,
Harpers Bizarre, Harpers Bizarre, Harpers Bizarre, Harpers Bizarre.
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.