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 Congo and from Portland.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Salvador and Sao Paulo.
I'm losing my edge to the art-school Manila 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord 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 Jeff Mills to the punk kids.
I played it at Trash.
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 Pharaoh Sanders and the Fire Engines. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every Donny Hathaway 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 '50s cut and another box set from the '90s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious BIG live in Amsterdam,
Dual Sessions,
Second Layer,
The Trojans,
Kool G Rap & DJ Polo,
Sound Behaviour,
Michelle Simonal,
The Stooges,
Gang Gang Dance,
Audionom,
The Misunderstood,
Section 25,
Derrick May,
The Star Department,
Electric Light Orchestra,
Hoover,
Avey Tare,
Kool Moe Dee,
Boogie Down Productions,
Mad Mike,
Toni Rubio,
DJ Style,
Echospace,
Fort Wilson Riot,
Pulsallama,
The West Coast Pop Art Experimental Band,
The Real Kids,
Unwound,
Frankie Knuckles,
The Slits,
Spandau Ballet,
Lightning Bolt,
Don Cherry,
Brand Nubian,
Scratch Acid,
Organ,
Avey Tare's Slasher Flicks,
Crispian St. Peters,
Lucky Dragons,
Eric Dolphy,
Amon Düül II,
The Fugs,
Selector Dub Narcotic,
Grey Daturas,
Delon & Dalcan,
Black Sheep,
Rapeman,
Jawbox,
The Standells,
Brick,
Tres Demented,
Lafayette Afro Rock Band,
The Offenders,
the Swans,
Mission of Burma,
Scientists,
Mark Hollis,
Orchestral Manoeuvres in the Dark,
Nik Kershaw,
Graham Central Station,
Kings Of Tomorrow,
Smog,
The Skatalites,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.