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 Kyrgyzstan and from Glasgow.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Lyon.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 The Dave Clark Five to the grunge kids.
I played it at the Troubador.
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 Cecil Taylor. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every Underground Resistance 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 '90s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Matthew Bourne,
Funkadelic,
Scientists,
Q65,
Fear,
Lou Christie,
Nirvana,
The Grass Roots,
The Litter,
Swell Maps,
The Chocolate Watch Band,
Thompson Twins,
Neu!,
The Monochrome Set,
Eve St. Jones,
Newcleus,
The Smiths,
Zapp,
Maleditus Sound,
The American Breed,
Country Teasers,
Barrington Levy,
Sexual Harrassment,
David Axelrod,
Kerri Chandler,
Deutsch Amerikanische Freundschaft,
Visionaries,LMNO, T- Love & Iriscience,
Marvin Gaye,
James White and The Blacks,
Drexciya,
Pagans,
Smog,
Con Funk Shun,
Dark Day,
Cal Tjader,
Don Cherry,
Grandmaster Flash,
Pet Shop Boys,
Throbbing Gristle,
Scott Walker + Sunn O))),
The Dead C,
The Monks,
Crispian St. Peters,
EPMD,
Faraquet,
Swans,
London Community Gospel Choir,
MDC,
Aaron Thompson,
Crooked Eye,
Dawn Penn,
Jeru the Damaja,
DNA,
One Last Wish,
The Smoke,
Roy Ayers Ubiquity,
Easy Going,
Notorious BIG live in Amsterdam,
Marmalade, Marmalade, Marmalade, Marmalade.
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.