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 Switzerland and from Tehran.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 Glasgow and Lille.
I'm losing my edge to the art-school Philadelphia 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the guitar 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 48th St. Collective to the jazz kids.
I played it at the 40 Watt.
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 Vladislav Delay. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Carl Craig 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 '70s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scientists,
Sad Lovers and Giants,
The Mojo Men,
Can,
Albert Ayler,
Franke,
Ronnie Foster,
Girls At Our Best!,
the Bar-Kays,
Eyeless In Gaza,
Swans,
Howard Jones,
Todd Terry,
Rakim,
Trumans Water,
DJ Sneak,
Robert Görl,
Lightning Bolt,
A Flock of Seagulls,
The Music Machine,
Crispian St. Peters,
Icehouse,
Lower 48,
Roger Hodgson,
Mary Jane Girls,
Isaac Hayes,
F. McDonald,
X-Ray Spex,
Whodini,
EPMD,
Minnie Riperton,
Stockholm Monsters,
The Searchers,
Rosa Yemen,
Junior Murvin,
Easy Going,
Talk Talk,
Ultravox,
Rufus Thomas,
ABBA,
Peter and Kerry,
Mo-Dettes,
The Last Poets,
Bobby Womack,
Mars,
The Knickerbockers,
The Cramps,
The Dave Clark Five,
In Retrospect,
The Monochrome Set,
Robert Hood,
Sound Behaviour,
The Happenings,
The Moleskins,
Soul II Soul,
ABC,
Zapp,
Lindisfarne,
Chris Corsano,
Ten City,
CMW,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.