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 Ireland and from Winnipeg.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Seoul.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin 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 Curtis Mayfield to the dance 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 Joensuu 1685. All the underground hits.
All Scrapy tracks. I heard you have a vinyl of every Gabor Szabo record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Red Lorry Yellow Lorry,
Flipper,
The Gladiators,
Electric Prunes,
Swell Maps,
Pantytec,
Liaisons Dangereuses,
Kool G Rap & DJ Polo,
The Fuzztones,
Section 25,
Fort Wilson Riot,
Charles Mingus,
Scott Walker,
Frankie Knuckles,
Amon Düül,
Kauko Röyhkä ja Narttu,
Laurel Aitken,
Visionaries,LMNO, T- Love & Iriscience,
Faust,
a-ha,
Neil Young & Crazy Horse,
Jerry Gold Smith,
the Association,
The Litter,
Pere Ubu,
The Seeds,
Roger Hodgson,
Y Pants,
Don Cherry,
The Smiths,
Dual Sessions,
The Motions,
Interpol,
Jesper Dahlback,
Negative Approach,
The Dirtbombs,
The Blackbyrds,
Bobby Sherman,
Zero Boys,
The Victims,
Monolake,
The Invisible,
Spoonie Gee,
Tommy Roe,
Leonard Cohen,
The Cowsills,
Crispy Ambulance,
Scott Walker + Sunn O))),
Jawbox,
Moss Icon,
Major Organ And The Adding Machine,
Fifty Foot Hose,
The West Coast Pop Art Experimental Band,
Sixth Finger,
Bad Manners,
Notorious BIG live in Amsterdam,
Essential Logic,
Cybotron,
FM Einheit,
Barrington Levy,
Trumans Water, Trumans Water, Trumans Water, Trumans Water.
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.