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 Czech Republic and from Glasgow.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Houston.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the snare 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 Erykah Badu to the electroclash kids.
I played it at the Astoria.
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 Reagan Youth. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Agitation Free record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Eli Mardock,
This Heat,
Hoover,
EPMD,
Siouxsie and the Banshees,
Soft Machine,
The Real Kids,
Colin Newman,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jandek,
UT,
Subhumans,
Neil Young & Crazy Horse,
Alison Limerick,
Larry & the Blue Notes,
Quadrant,
Joey Negro,
Ajijia Myrayebe,
Nas,
The Alarm Clocks,
Ponytail,
Mad Mike,
Andrew Ashong & Theo Parrish,
Saccharine Trust,
KRS-One,
Intrusion,
Pantaleimon,
The Smiths,
Bronski Beat,
The Angels of Light,
Black Pus,
48th St. Collective,
Jeru the Damaja,
Angry Samoans,
Pierre Henry,
The Mighty Diamonds,
Lower 48,
Lou Christie,
Notorious Big And Bone Thugs,
Echo & the Bunnymen,
Country Teasers,
Fela Kuti,
Depeche Mode,
Flash Fearless,
Tears for Fears,
Faust,
Nick Fraelich,
Bang on a Can All-Stars,
Kool G Rap & DJ Polo,
Schoolly D,
Bobbi Humphrey,
Blancmange,
Mission of Burma,
Groovy Waters,
Kerri Chandler,
Stereo Dub,
Sly & The Family Stone,
Motorama,
Man Parrish,
Kango’s Stein Massive,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.