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 Seoul.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Manchester.
I'm losing my edge to the art-school Mumbai 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 1978 at the first Visage practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 Frankie Knuckles to the electroclash 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 Absolute Body Control. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every The Monks record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Ralphi Rosario record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rod Modell,
Can,
Aloha Tigers,
James White and The Blacks,
the Fania All-Stars,
JFA,
Alice Coltrane,
Rosa Yemen,
The Divine Comedy,
The Royal Family And The Poor,
The Gun Club,
Bluetip,
Pet Shop Boys,
Lakeside,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Andrew Hill,
Grandmaster Flash and the Furious Five,
the Normal,
Sex Pistols,
Yaz,
New Age Steppers,
Lou Reed & John Cale,
Matthew Halsall,
Tommy Roe,
Saccharine Trust,
Brick,
T. Rex,
Warsaw,
Mary Jane Girls,
Boogie Down Productions,
Bobby Byrd,
Country Teasers,
The Vogues,
Crash Course in Science,
Gong,
Cal Tjader,
Terry Callier,
The Cosmic Jokers,
David McCallum,
The Birthday Party,
Sugar Minott,
Cluster,
Don Cherry,
The Music Machine,
Yazoo,
Yusef Lateef,
Hasil Adkins,
The Durutti Column,
Surgeon,
Suicide,
The Electric Prunes,
F. McDonald,
Bill Near,
The Victims,
Electric Prunes,
The Pretty Things,
Sonny Sharrock,
Fort Wilson Riot,
Half Japanese,
Section 25,
Minnie Riperton,
David Axelrod,
Pole, Pole, Pole, Pole.
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.