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 Tanzania and from Lille.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Madrid.
I'm losing my edge to the art-school Shanghai 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the mellotron 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 Glambeats Corp. to the funk kids.
I played it at Trash.
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 Blossom Toes. All the underground hits.
All Nik Kershaw tracks. I heard you have a vinyl of every Warren Ellis 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 '60s cut and another box set from the '80s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
Dark Day,
Camron Feat. Memphis Bleek And Beenie Seigel,
Scion,
Bill Wells,
Jesper Dahlback,
Agent Orange,
Kerrie Biddell,
The Skatalites,
Masters at Work,
Nick Cave & The Bad Seeds,
Prince Buster,
Terrestrial Tones,
Crash Course in Science,
Wally Richardson,
The Doobie Brothers,
Chris Corsano,
The Young Rascals,
Ultimate Spinach,
Suicide,
Young Marble Giants,
MC5,
James Chance & The Contortions,
Public Image Ltd.,
Barrington Levy,
Wasted Youth,
The Sonics,
Icehouse,
The Names,
Babytalk,
the Human League,
Scott Walker + Sunn O))),
kango's stein massive,
Vainqueur,
The Angels of Light,
Rod Modell,
The Modern Lovers,
The Fortunes,
Tres Demented,
The Neon Judgement,
Fatback Band,
Supertramp,
The Mighty Diamonds,
Bush Tetras,
Stereo Dub,
Gastr Del Sol,
The Cramps,
The Index,
Fear,
Inner City,
the Germs,
Morten Harket,
Sticky Fingaz feat. Raekwon,
Oneida,
Radiopuhelimet,
The Raincoats,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lizzy Mercier Descloux,
Anakelly,
Pierre Henry,
Dead Boys,
The Monochrome Set,
Desert Stars,
Crime, Crime, Crime, Crime.
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.