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 Guinea and from Hong Kong.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Woodstock and London.
I'm losing my edge to the art-school Mexico City 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 marimba sounds with much patience.
I was there when Donald Fagen 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 Lonnie Liston Smith to the grime kids.
I played it at Cafe Wha.
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 It's A Beautiful Day. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every Barrington Levy record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra Arkestra,
Pharoah Sanders,
The Human League,
The Index,
Spandau Ballet,
Funky Four + One,
David Axelrod,
Aural Exciters,
Interpol,
The Offenders,
Gil Scott-Heron and Jamie xx,
Accadde A,
Urselle,
Tubeway Army,
Arthur Verocai,
The Mojo Men,
Sällskapet,
The Mummies,
The Raincoats,
Technova,
Bobby Hutcherson,
Soulsonic Force,
Deakin,
Public Enemy,
The Durutti Column,
Sunsets and Hearts,
The Velvet Underground,
Amon Düül,
Visionaries,LMNO, T- Love & Iriscience,
Soul Sonic Force,
Kevin Saunderson,
Orchestral Manoeuvres in the Dark,
June of 44,
Erykah Badu,
Red Lorry Yellow Lorry,
Black Pus,
Rakim,
Buzzcocks,
Curtis Mayfield,
Adolescents,
Y Pants,
Suicide,
Whodini,
The Techniques,
The Trojans,
Black Bananas,
The Gladiators,
Sight & Sound,
Scott Walker + Sunn O))),
cv313,
Crash Course in Science,
Peter and Kerry,
Idris Muhammad,
Harpers Bizarre,
Kango’s Stein Massive,
Bill Wells,
Strawberry Alarm Clock,
John Holt,
The Chocolate Watch Band,
OOIOO,
Slick Rick, Slick Rick, Slick Rick, Slick Rick.
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.