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 Austria and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Madrid.
I'm losing my edge to the art-school Portland 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 1984 at the first Arcadia practice in a loft in London.
I was working on the linndrum 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 Jeff Mills to the rap 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 Red Lorry Yellow Lorry. All the underground hits.
All Neil Young tracks. I heard you have a vinyl of every Frankie Knuckles record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
Dark Day,
Ken Boothe,
Louis and Bebe Barron,
X-101,
Mary Jane Girls,
Inner City,
Dorothy Ashby,
Gang Green,
The Move,
Pantaleimon,
World's Most,
Country Joe & The Fish,
Bobby Hutcherson,
Jeff Mills,
Steve Hackett,
Bauhaus,
Aswad,
Ronnie Foster,
The Moody Blues,
Orchestral Manoeuvres in the Dark,
Agent Orange,
The Knickerbockers,
Maurizio,
Major Organ And The Adding Machine,
Man Parrish,
Bush Tetras,
Pussy Galore,
T. Rex,
Lizzy Mercier Descloux,
Loose Ends,
Don Cherry,
The Cramps,
Monolake,
ABBA,
Sonny Sharrock,
Siglo XX,
The Young Rascals,
Avey Tare,
The Gap Band,
June Days,
Soul II Soul,
Clear Light,
This Heat,
Joyce Sims,
Robert Wyatt,
Wasted Youth,
Darondo,
Babytalk,
Fugazi,
The Flesh Eaters,
The Residents,
Brass Construction,
De La Soul & Jungle Brothers,
Laurel Aitken,
Althea and Donna,
Dead Boys,
The Happenings,
Marvin Gaye,
Joensuu 1685,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.