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 Costa Rica and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1960 to 1979.
I'm losing my edge.
To all the kids in Delhi and Shanghai.
I'm losing my edge to the art-school Lagos 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the chamberlin 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 Brass Construction to the dance kids.
I played it at the 40 Watt.
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 Liaisons Dangereuses. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every The Golliwogs record on German import.
I heard that you have a white label of every seminal disco 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 a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Gang Starr record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Junior Murvin,
Juan Atkins,
Niagra,
Eve St. Jones,
Rapeman,
Black Moon,
Marshall Jefferson,
Funkadelic,
Camouflage,
Althea and Donna,
Reuben Wilson,
Justin Hinds & The Dominoes,
T.S.O.L.,
Hashim,
Aural Exciters,
Television,
Pierre Henry,
The Alarm Clocks,
8 Eyed Spy,
Andrew Ashong & Theo Parrish,
Rakim,
The Royal Family And The Poor,
Byron Stingily,
Siglo XX,
Flamin' Groovies,
X-101,
Ken Boothe,
Barbara Tucker,
The Golliwogs,
A Flock of Seagulls,
London Community Gospel Choir,
Nation of Ulysses,
Babytalk,
The Fall,
Sun City Girls,
Vainqueur,
David Bowie,
Lonnie Liston Smith,
The Sisters of Mercy,
Minny Pops,
Toni Rubio,
Orchestral Manoeuvres in the Dark,
Bad Manners,
Oppenheimer Analysis,
Rhythm & Sound,
Circle Jerks,
Gian Franco Pienzio,
The Mummies,
Sunsets and Hearts,
The Flesh Eaters,
The Dirtbombs,
Siouxsie and the Banshees,
Sarah Menescal,
Rites of Spring,
Matthew Halsall,
Harry Pussy,
Scott Walker + Sunn O))),
Sun Ra Arkestra,
Eric B and Rakim, Eric B and Rakim, Eric B and Rakim, Eric B and Rakim.
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.