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 Suriname and from Shanghai.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1969 to 1979.
I'm losing my edge.
To all the kids in Cairo and Bremen.
I'm losing my edge to the art-school Salvador 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 güiro sounds with much patience.
I was there when Tom Verlaine 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 Sonny Sharrock to the rap 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 Electric Prunes. All the underground hits.
All the Association tracks. I heard you have a vinyl of every Second Layer record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a chamberlin 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 mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Sister Nancy,
Josef K,
Liliput,
David Axelrod,
Ultra Naté,
Scientists,
Avey Tare's Slasher Flicks,
Harry Pussy,
Faraquet,
Sarah Menescal,
John Holt,
Trumans Water,
Joyce Sims,
N.O.R.E. Featuring Pharrell,
Sad Lovers and Giants,
Harmonia,
Angry Samoans,
The Beau Brummels,
Jeru the Damaja,
These Immortal Souls,
the Fania All-Stars,
Fugazi,
Ossler,
Lou Reed,
Second Layer,
Minnie Riperton,
Robert Görl,
The Knickerbockers,
The J.B.'s,
Ohio Players,
Gastr Del Sol,
Man Eating Sloth,
Althea and Donna,
Leonard Cohen,
Urselle,
Main Source,
Rod Modell,
Sly & The Family Stone,
Can,
The American Breed,
Albert Ayler,
Girls At Our Best!,
R.M.O.,
Sticky Fingaz feat. Raekwon,
Crispy Ambulance,
The Shadows of Knight,
The Fire Engines,
Bluetip,
The Velvet Underground,
T.S.O.L.,
Moebius,
Letta Mbulu,
CMW,
Don Cherry,
Absolute Body Control,
Tom Boy,
Pole,
Sound Behaviour,
Chris Corsano,
Soul Sonic Force,
E-Dancer,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
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.