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 Venezuela and from Columbus.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Hong Kong.
I'm losing my edge to the art-school Johannesburg 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 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 A Flock of Seagulls to the techno kids.
I played it at the Troubador.
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 Avey Tare & Kría Brekkan. All the underground hits.
All Idris Muhammad tracks. I heard you have a vinyl of every Andrew Hill record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
FM Einheit,
Johnny Osbourne,
Tim Buckley,
Black Sheep,
Minnie Riperton,
Heavy D & The Boyz,
Bush Tetras,
Hoover,
Super Lover Cee & Casanova Rud,
Oneida,
Deakin,
Chris & Cosey,
Fugazi,
Junior Murvin,
Yusef Lateef,
Dorothy Ashby,
the Sonics,
Donny Hathaway,
Au Pairs,
a-ha,
Masters at Work,
Pete Rock & C.L. Smooth,
Guru Guru,
Yellowson,
Cluster,
ABC,
The Toasters,
Kenny Larkin,
Rekid,
cv313,
Susan Cadogan,
The United States of America,
Marc Almond,
Davy DMX,
Drive Like Jehu,
Wolf Eyes,
Bauhaus,
The Smiths,
Glenn Branca,
The Detroit Cobras,
Sex Pistols,
Slave,
James White and The Blacks,
Oblivians,
B.T. Express,
The Leaves,
Half Japanese,
Nico,
The Durutti Column,
Stockholm Monsters,
Outsiders,
The Dirtbombs,
Deepchord,
Kurtis Blow,
The Wake,
Teenage Jesus and the Jerks,
U.S. Maple,
The Vogues,
UT,
Hardrive,
Motorama,
Aswad,
Howard Jones,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane, Masta Ace, Craig G, Kool G Rap, Big Daddy Kane, Masta Ace, Craig G, Kool G Rap, Big Daddy Kane, Masta Ace, Craig G, Kool G Rap, Big Daddy Kane.
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.