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 Belgium and from Woodstock.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Columbus and Philadelphia.
I'm losing my edge to the art-school Delhi 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord 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 Kevin Saunderson to the rock kids.
I played it at the Crocodile.
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 The Count Five. All the underground hits.
All Fifty Foot Hose tracks. I heard you have a vinyl of every Louis and Bebe Barron 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mighty Diamonds,
Ralphi Rosario,
Lalann,
Man Eating Sloth,
The Alarm Clocks,
Sixth Finger,
Sparks,
Ludus,
Ash Ra Tempel,
The Doors,
Infiniti,
The Gladiators,
Agitation Free,
Eric Copeland,
Althea and Donna,
Larry & the Blue Notes,
Isaac Hayes,
Robert Wyatt,
A Certain Ratio,
Ice-T,
Joe Smooth,
L. Decosne,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Walker Brothers,
Echo & the Bunnymen,
The Pretty Things,
The Real Kids,
Liaisons Dangereuses,
Arthur Verocai,
Derrick Morgan,
Lou Christie,
Pussy Galore,
ABC,
Yellowson,
Jawbox,
Section 25,
Basic Channel,
Gabor Szabo,
Matthew Halsall,
This Heat,
Warsaw,
JFA,
Jacques Brel,
Minny Pops,
Y Pants,
The Dirtbombs,
Yaz,
Au Pairs,
Make Up,
Jimmy McGriff,
China Crisis,
Blake Baxter,
Nas,
Spandau Ballet,
Harmonia,
In Retrospect,
Khruangbin,
Sam Rivers,
James Chance & The Contortions,
Crash Course in Science,
Todd Terry,
Swell Maps, Swell Maps, Swell Maps, Swell Maps.
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.