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 Indonesia and from Woodstock.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Accra and Spokane.
I'm losing my edge to the art-school Seoul 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 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 Eric Dolphy to the grime kids.
I played it at the Hacienda.
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 Visage. All the underground hits.
All Crooked Eye tracks. I heard you have a vinyl of every KRS-One 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 '70s cut and another box set from the '70s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
the Germs,
Lou Christie,
The Moleskins,
Rapeman,
B.T. Express,
Young Marble Giants,
The Last Poets,
The Standells,
Jacob Miller,
Accadde A,
The Neon Judgement,
D'Angelo,
Guru Guru,
Mad Mike,
Vladislav Delay,
The Names,
Ornette Coleman,
Crash Course in Science,
The Kinks,
Gil Scott Heron,
X-102,
Los Fastidios,
Derrick May,
Tommy Roe,
Al Stewart,
Laurel Aitken,
Chrome,
Anakelly,
Bluetip,
De La Soul & Jungle Brothers,
Bauhaus,
Pussy Galore,
Minny Pops,
The Gap Band,
The Invisible,
Terrestrial Tones,
Bobby Hutcherson,
Sandy B,
Das Ding,
The Walker Brothers,
Stereo Dub,
In Retrospect,
Aswad,
Blossom Toes,
Ituana,
Wighnomy Brothers & Robag Wruhme,
The Gun Club,
Sunsets and Hearts,
The Skatalites,
Public Enemy,
Grandmaster Flash and the Furious Five,
Ohio Players,
Big Daddy Kane,
Pole,
Nation of Ulysses, Nation of Ulysses, Nation of Ulysses, Nation of Ulysses.
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.