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 Tuvalu and from Columbus.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1970.
I'm losing my edge.
To all the kids in Tokyo and Glasgow.
I'm losing my edge to the art-school Johannesburg 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 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 Bobbi Humphrey to the disco kids.
I played it at the Crocodile.
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 Misunderstood. All the underground hits.
All Kenny Larkin tracks. I heard you have a vinyl of every Crash Course in Science 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 '80s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agitation Free,
Idris Muhammad,
The Residents,
Oneida,
Harry Pussy,
Kings Of Tomorrow,
Lou Reed,
Nas,
Lalann,
Japan,
Underground Resistance,
Freddie Wadling,
Rahsaan Roland Kirk,
The Monochrome Set,
The Evens,
Sällskapet,
Echospace,
Black Moon,
A Certain Ratio,
Roxy Music,
Cluster,
Kerri Chandler,
Bad Manners,
Tropical Tobacco,
Magazine,
Lizzy Mercier Descloux,
Kool G Rap & DJ Polo,
L. Decosne,
Fat Boys,
Josef K,
The Moleskins,
Arab on Radar,
Deadbeat,
Drexciya,
Byron Stingily,
Clear Light,
Country Teasers,
Kaleidoscope,
Joe Smooth,
Camron Feat. Jay Z And Juelz,
Deepchord,
Sarah Menescal,
The Cure,
Super Lover Cee & Casanova Rud,
David Axelrod,
The Electric Prunes,
The Trojans,
Supertramp,
Sonny Sharrock,
The Neon Judgement,
Sad Lovers and Giants,
Country Joe & The Fish,
Bizarre Inc.,
Major Organ And The Adding Machine,
Babytalk,
Kenny Larkin,
This Heat,
Q and Not U,
a-ha,
Buzzcocks,
Gang Starr,
Richard Hell and the Voidoids,
Index,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.