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 Lesotho and from Salvador.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Taipei.
I'm losing my edge to the art-school Tehran 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 arpeggiator 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 Fort Wilson Riot to the grime 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 Red Lorry Yellow Lorry. All the underground hits.
All The Blues Magoos tracks. I heard you have a vinyl of every Nation of Ulysses record on German import.
I heard that you have a white label of every seminal crunk 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 güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Stooges record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Faust,
Minnie Riperton,
Big Daddy Kane,
The Royal Family And The Poor,
Fear,
Mandrill,
Jeru the Damaja,
Jeff Mills,
The Blues Magoos,
The Black Dice,
the Germs,
Reagan Youth,
Major Organ And The Adding Machine,
Urselle,
Neil Young,
Scion,
Porter Ricks,
Technova,
Brass Construction,
Carl Craig,
Fluxion,
Gil Scott Heron,
Dr. Dre and Snoop Doggy Dog,
Piero Umiliani,
Freddie Wadling,
Youth Brigade,
Nick Cave & The Bad Seeds,
The Gap Band,
Easy Going,
Crooked Eye,
the Sonics,
Rapeman,
John Cale,
Sun City Girls,
Ten City,
The Standells,
H. Thieme,
Goldenarms,
the Soft Cell,
Eurythmics,
Spandau Ballet,
Popol Vuh,
The Detroit Cobras,
Nation of Ulysses,
Brand Nubian,
Ajijia Myrayebe,
Model 500,
In Retrospect,
Anthony Braxton,
Peter & Gordon,
Von Mondo,
Danielle Patucci,
Cabaret Voltaire,
The West Coast Pop Art Experimental Band,
Roy Ayers Ubiquity,
Johnny Osbourne,
The Chocolate Watch Band,
Matthew Halsall,
The Offenders, The Offenders, The Offenders, The Offenders.
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.