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 Latvia and from Cairo.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Winnipeg.
I'm losing my edge to the art-school Bologna 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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 De La Soul & Jungle Brothers to the jazz kids.
I played it at the Hacienda.
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 Yaz. All the underground hits.
All Nas tracks. I heard you have a vinyl of every Morten Harket 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Barrington Levy record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
Eric B and Rakim,
Bootsy Collins,
Fort Wilson Riot,
Roxette,
Model 500,
Goldenarms,
MDC,
Wolf Eyes,
Gang Starr,
Pete Rock & C.L. Smooth,
Country Joe & The Fish,
The American Breed,
Gabor Szabo,
Joensuu 1685,
John Lydon,
Lafayette Afro Rock Band,
Newcleus,
Masters at Work,
Tubeway Army,
Wighnomy Brothers & Robag Wruhme,
Marcia Griffiths,
Robert Wyatt,
Bush Tetras,
Lonnie Liston Smith,
Sad Lovers and Giants,
Radio Birdman,
Q65,
Marvin Gaye,
Alice Coltrane,
Skriet,
Los Fastidios,
Big Daddy Kane,
Pantaleimon,
Public Enemy,
Agitation Free,
The Dirtbombs,
Electric Light Orchestra,
The Fuzztones,
Little Man,
Donny Hathaway,
Joe Finger,
Suburban Knight,
Cameo,
Althea and Donna,
Dual Sessions,
the Normal,
Dave Gahan,
Royal Trux,
Sun Ra,
Boredoms,
The Count Five,
the Sonics,
F. McDonald,
Todd Terry,
Kas Product,
Susan Cadogan,
Can,
10cc,
Gil Scott-Heron and Jamie xx,
the Germs,
The New Christs, The New Christs, The New Christs, The New Christs.
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.