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 Philippines and from Cairo.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Manchester.
I'm losing my edge to the art-school Lille 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 808 sounds with much patience.
I was there when Donald Fagen 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 Maleditus Sound to the punk kids.
I played it at the Spitz.
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 Ajijia Myrayebe. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every The Blackbyrds 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 '50s cut and another box set from the '80s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a cv313 record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
B.T. Express,
The Slackers,
Toni Rubio,
The Alarm Clocks,
The Fall,
Camberwell Now,
Nas,
Mantronix,
Kas Product,
Gerry Rafferty,
Eli Mardock,
a-ha,
Subhumans,
The Last Poets,
Rhythim Is Rhythim,
Lindisfarne,
Cecil Taylor,
Glambeats Corp.,
H. Thieme,
The Fire Engines,
Avey Tare & Kría Brekkan,
Art Ensemble Of Chicago,
Graham Central Station,
Visage,
FM Einheit,
Ice-T,
Scan 7,
Shoche,
Basic Channel,
Matthew Halsall,
Gabor Szabo,
Con Funk Shun,
Leonard Cohen,
JFA,
Masters at Work,
Blancmange,
Wally Richardson,
Robert Görl,
Cal Tjader,
The Gories,
Tom Boy,
Banda Bassotti,
Bobby Hutcherson,
Aswad,
Isaac Hayes,
Throbbing Gristle,
The Music Machine,
Bootsy Collins,
Ultra Naté,
Television,
Hasil Adkins,
Joensuu 1685,
Pharoah Sanders,
Archie Shepp,
The Durutti Column,
The Star Department,
Harpers Bizarre,
Black Flag,
Ken Boothe,
Harmonia,
Andrew Hill,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.