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 Kazakhstan and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Paris and Houston.
I'm losing my edge to the art-school Madrid 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Sticky Fingaz feat. Raekwon to the disco kids.
I played it at the Spitz.
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 Lou Christie. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every Reuben Wilson 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 '70s cut and another box set from the '70s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Fatback Band record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Sad Lovers and Giants,
Nas,
Todd Terry,
Anthony Braxton,
Wasted Youth,
Graham Central Station,
Tom Boy,
a-ha,
Gregory Isaacs,
Warren Ellis,
Nirvana,
Cymande,
Joensuu 1685,
Peter and Kerry,
Bronski Beat,
Fela Kuti,
Sonny Sharrock,
Sight & Sound,
Jandek,
Notorious BIG live in Amsterdam,
Josef K,
Jesper Dahlback,
JFA,
The Alarm Clocks,
The Fuzztones,
Average White Band,
The Detroit Cobras,
Inner City,
U.S. Maple,
John Cale,
The Kinks,
Eli Mardock,
The Tremeloes,
Erykah Badu,
Terrestrial Tones,
Supertramp,
Super Lover Cee & Casanova Rud,
The Martian,
June of 44,
Moby Grape,
The Human League,
Ponytail,
Popol Vuh,
Sly & The Family Stone,
UT,
Derrick Morgan,
Joe Smooth,
Bauhaus,
Desert Stars,
Lower 48,
DNA,
The Black Dice,
Mary Jane Girls,
The Grass Roots,
Rufus Thomas,
Symarip,
Minny Pops,
The Standells,
The Velvet Underground,
Marshall Jefferson,
FM Einheit, FM Einheit, FM Einheit, FM Einheit.
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.