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 Gambia and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Stockholm.
I'm losing my edge to the art-school Mumbai 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Derrick Morgan to the grime kids.
I played it at the Roxy.
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 Big Daddy Kane. All the underground hits.
All X-101 tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Das Ding record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Pagans,
Procol Harum,
T.S.O.L.,
Darondo,
Subhumans,
Todd Terry,
Kerri Chandler,
Cybotron,
James White and The Blacks,
Bad Manners,
U.S. Maple,
Dual Sessions,
London Community Gospel Choir,
48th St. Collective,
Tubeway Army,
The Royal Family And The Poor,
Ponytail,
Richard Hell and the Voidoids,
The Detroit Cobras,
One Last Wish,
The Alarm Clocks,
The Electric Prunes,
Interpol,
Don Cherry,
Stetsasonic,
This Heat,
Suicide,
Mantronix,
Depeche Mode,
Sonic Youth,
Metal Thangz,
Eli Mardock,
Black Sheep,
Second Layer,
The Busters,
Lou Reed & John Cale,
Skriet,
David Axelrod,
Camron Feat. Memphis Bleek And Beenie Seigel,
Drive Like Jehu,
Tomorrow,
Roxy Music,
Lebanon Hanover,
Kayak,
Malaria!,
Kango’s Stein Massive,
Be Bop Deluxe,
These Immortal Souls,
Pharaoh Sanders and the Fire Engines,
Smog,
Barbara Tucker,
The Saints,
Niagra,
Khruangbin,
Kenny Larkin,
Kings Of Tomorrow,
Glenn Branca,
Wolf Eyes,
Ludus,
Mission of Burma,
Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks.
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.