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 Spokane.
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 1967 to 1979.
I'm losing my edge.
To all the kids in New York and Portland.
I'm losing my edge to the art-school Toronto 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 marimba sounds with much patience.
I was there when Donald Fagen 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 CMW to the electroclash kids.
I played it at the Spitz.
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 The Cowsills. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every Bizarre Inc. 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 an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Theoretical Girls record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scan 7,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sly & The Family Stone,
Jeru the Damaja,
Anthony Braxton,
Marcia Griffiths,
Archie Shepp,
Massinfluence,
Rekid,
Brick,
James White and The Blacks,
Steve Hackett,
Amon Düül II,
The Moody Blues,
Juan Atkins,
Hot Snakes,
Warren Ellis,
Colin Newman,
Yazoo,
Boogie Down Productions,
Faraquet,
Spoonie Gee,
Jeff Mills,
Junior Murvin,
Mars,
Grandmaster Flash and the Furious Five,
Franke,
London Community Gospel Choir,
The Durutti Column,
Marc Almond,
CMW,
Underground Resistance,
Oppenheimer Analysis,
Ossler,
Minnie Riperton,
De La Soul & Jungle Brothers,
Stiv Bators,
The Slits,
Black Sheep,
The J.B.'s,
Donny Hathaway,
Excepter,
Mission of Burma,
DeepChord presents Echospace,
Lightning Bolt,
Rites of Spring,
The Sonics,
Visage,
Frankie Knuckles,
Minutemen,
Roger Hodgson,
Letta Mbulu,
Agent Orange,
Eddi Front,
Metal Thangz,
The Mighty Diamonds,
Motorama,
KRS-One,
Deadbeat,
Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's.
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.