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 Kiribati and from Bologna.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1970.
I'm losing my edge.
To all the kids in Glasgow and Glasgow.
I'm losing my edge to the art-school Halifax 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the organ 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 D'Angelo to the electroclash 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 LL Cool J. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every The Angels of Light 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 '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Kool Moe Dee record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
a-ha,
Lizzy Mercier Descloux,
The Shadows of Knight,
The Slits,
KRS-One,
DNA,
Mission of Burma,
The Monochrome Set,
Alphaville,
Ralphi Rosario,
Henry Cow,
Kool G Rap & DJ Polo,
Nas,
Tomorrow,
Avey Tare,
Jesper Dahlbäck,
Aural Exciters,
DJ Sneak,
The Divine Comedy,
Jacques Brel,
the Slits,
Buzzcocks,
Porter Ricks,
Bizarre Inc.,
Bluetip,
Moebius,
Scratch Acid,
The Grass Roots,
The Five Americans,
Girls At Our Best!,
Roxy Music,
Terrestrial Tones,
Ronnie Foster,
Traffic Nightmare,
Sonny Sharrock,
Patti Smith,
New Age Steppers,
Goldenarms,
Frankie Knuckles,
Reagan Youth,
Flamin' Groovies,
Scrapy,
The Monks,
Black Pus,
It's A Beautiful Day,
Jerry Gold Smith,
Blancmange,
Roger Hodgson,
Vladislav Delay,
Gabor Szabo,
Visionaries,LMNO, T- Love & Iriscience,
Steve Hackett,
Marcia Griffiths,
The Fugs,
Soft Machine,
The Index, The Index, The Index, The Index.
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.