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 Grenada and from New York.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1972.
I'm losing my edge.
To all the kids in Lille and New York.
I'm losing my edge to the art-school Mexico City 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the rhodes sounds with much patience.
I was there when Michael McDonald 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 Kings Of Tomorrow to the grime kids.
I played it at the Astoria.
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 Pere Ubu. All the underground hits.
All Thee Headcoats tracks. I heard you have a vinyl of every Alison Limerick 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 '60s cut and another box set from the '80s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your clarinet and bought a 808.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
Maleditus Sound,
Jesper Dahlbäck,
The Names,
Kauko Röyhkä ja Narttu,
Eric Dolphy,
Electric Prunes,
Delon & Dalcan,
Sonny Sharrock,
Mantronix,
The Tremeloes,
CMW,
Vainqueur,
Public Enemy,
These Immortal Souls,
Technova,
Bob Dylan,
Sugar Minott,
London Community Gospel Choir,
Todd Terry,
Patti Smith,
Simply Red,
Morten Harket,
World's Most,
Jawbox,
Joey Negro,
Oppenheimer Analysis,
Ronan,
The Trojans,
Young Marble Giants,
Barrington Levy,
Amon Düül II,
Thinking Fellers Union Local 282,
Masters at Work,
Echospace,
John Foxx,
Michelle Simonal,
Liaisons Dangereuses,
The Zeros,
Spandau Ballet,
Nas,
The Black Dice,
Tres Demented,
Deadbeat,
Ossler,
Glenn Branca,
X-Ray Spex,
Notorious BIG live in Amsterdam,
Ten City,
The Stooges,
Aloha Tigers,
Jeff Mills,
Sly & The Family Stone,
The Cosmic Jokers,
Banda Bassotti,
DJ Style,
Deutsch Amerikanische Freundschaft,
Brand Nubian,
Marmalade,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.