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 Tanzania and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1975.
I'm losing my edge.
To all the kids in Copenhagen and Glasgow.
I'm losing my edge to the art-school Mexico City 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 Human League practice in a loft in Sheffield.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 Letta Mbulu to the crunk kids.
I played it at the Roxy.
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 Second Layer. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Sonny Sharrock record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The J.B.'s,
The Electric Prunes,
Little Man,
Index,
Chris & Cosey,
Mr. Review,
Drive Like Jehu,
Silicon Teens,
Siglo XX,
Lower 48,
Ultramagnetic MC's,
Tom Boy,
Johnny Osbourne,
Oneida,
Joey Negro,
The Saints,
Symarip,
Sarah Menescal,
The Beau Brummels,
Yazoo,
Be Bop Deluxe,
Soul II Soul,
Quadrant,
The Grass Roots,
Robert Wyatt,
Arab on Radar,
Freddie Wadling,
Gary Puckett & The Union Gap,
The Motions,
Jandek,
Eric B and Rakim,
Vladislav Delay,
Half Japanese,
Soul Sonic Force,
Radiopuhelimet,
The Shadows of Knight,
Idris Muhammad,
Surgeon,
Hoover,
Dual Sessions,
Ohio Players,
Nico,
Ice-T,
Moebius,
Sparks,
Anthony Braxton,
Alison Limerick,
Andrew Ashong & Theo Parrish,
Das Ding,
Con Funk Shun,
Beasts of Bourbon,
Pulsallama,
Lindisfarne,
Fugazi,
Black Moon,
LL Cool J,
Severed Heads,
Traffic Nightmare,
Sam Rivers,
Heavy D & The Boyz,
Gregory Isaacs,
Slick Rick,
The Angels of Light,
Magazine,
Metal Thangz, Metal Thangz, Metal Thangz, Metal Thangz.
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.