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 Albania and from Milan.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1963 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Copenhagen.
I'm losing my edge to the art-school Beijing 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 synthesizer 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 Fat Boys to the grunge kids.
I played it at CBGB's.
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 Bootsy's Rubber Band. All the underground hits.
All Bill Wells tracks. I heard you have a vinyl of every Darondo record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Wally Richardson record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
Index,
Althea and Donna,
Newcleus,
The Pop Group,
The Dead C,
The Doors,
Boz Scaggs,
Angels of Light & Akron/Family,
Lizzy Mercier Descloux,
Notorious Big And Bone Thugs,
The Motions,
Janne Schatter,
The Barracudas,
Barclay James Harvest,
kango's stein massive,
Smog,
Dennis Brown,
Marvin Gaye,
Flamin' Groovies,
The Martian,
Half Japanese,
Eric Copeland,
Pharaoh Sanders and the Fire Engines,
Sight & Sound,
Dark Day,
Curtis Mayfield,
Loose Ends,
Kerri Chandler,
Altered Images,
Gang Gang Dance,
Oppenheimer Analysis,
Cymande,
The Red Krayola,
Kool Moe Dee,
F. McDonald,
Kaleidoscope,
OOIOO,
Jawbox,
James Chance & The Contortions,
Donny Hathaway,
Fad Gadget,
The Men They Couldn't Hang,
Robert Hood,
Television,
Siouxsie and the Banshees,
Rhythm & Sound,
Desert Stars,
48th St. Collective,
Pantaleimon,
Bootsy Collins,
Camouflage,
Gabor Szabo,
Sonny Sharrock,
The Fuzztones,
Girls At Our Best!,
Hot Snakes,
David Axelrod,
The Knickerbockers,
Chris & Cosey,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.