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 Syria and from Cairo.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Lagos and Taipei.
I'm losing my edge to the art-school Sao Paulo 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 1978 at the first Visage practice in a loft in London.
I was working on the 808 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 The Motions 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 Ultimate Spinach. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every Max Romeo record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a 808 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 arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cybotron,
John Coltrane,
Cluster,
Minor Threat,
Gichy Dan,
Inner City,
Graham Central Station,
These Immortal Souls,
Sexual Harrassment,
Public Enemy,
Kerrie Biddell,
Slave,
Kevin Saunderson,
Public Image Ltd.,
Skaos,
Rotary Connection,
Robert Hood,
Sly & The Family Stone,
The Saints,
The American Breed,
Wolf Eyes,
De La Soul & Jungle Brothers,
Nils Olav,
Oneida,
The Gun Club,
Beasts of Bourbon,
CMW,
Vaughan Mason & Crew,
Notorious Big And Bone Thugs,
Lebanon Hanover,
Robert Wyatt,
Black Moon,
Sarah Menescal,
Gil Scott-Heron & Brian Jackson,
Nas,
Pierre Henry,
Stereo Dub,
Gil Scott Heron,
The Smiths,
The J.B.'s,
Eric Dolphy,
UT,
Joensuu 1685,
The Selecter,
Mr. Review,
Rekid,
Althea and Donna,
Laurel Aitken,
Grandmaster Flash,
Terror Squad Feat. Camron,
Hardrive,
Yazoo,
Selector Dub Narcotic,
Symarip,
Scan 7,
Bad Manners,
Avey Tare,
Roxy Music,
Tropical Tobacco,
Sunsets and Hearts,
Chris Corsano,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.