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 Uzbekistan and from Madrid.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Lille.
I'm losing my edge to the art-school Copenhagen 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the oboe sounds with much patience.
I was there when Lou Reed 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 Aswad to the grime kids.
I played it at Cafe Wha.
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 The Neon Judgement. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every Tropical Tobacco record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Q and Not U record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
The J.B.'s,
Tropical Tobacco,
Deadbeat,
L. Decosne,
Grey Daturas,
The Cramps,
Johnny Osbourne,
Barrington Levy,
Marshall Jefferson,
Liaisons Dangereuses,
Grandmaster Flash and the Furious Five,
Andrew Ashong & Theo Parrish,
Eric Dolphy,
Mandrill,
Connie Case,
Lou Reed,
Kango’s Stein Massive,
Sister Nancy,
The Men They Couldn't Hang,
Marc Romboy vs. Booka Shade,
Model 500,
Soul II Soul,
Smog,
T. Rex,
Warren Ellis,
Spoonie Gee,
Tears for Fears,
Black Flag,
Schoolly D,
Theoretical Girls,
Andrew Hill,
Pantytec,
Roger Hodgson,
Moebius,
Neil Young,
The Blues Magoos,
Rakim,
The Mighty Diamonds,
Juan Atkins,
PIL,
Avey Tare,
Cybotron,
Cameo,
Shoche,
Charles Mingus,
Wighnomy Brothers & Robag Wruhme,
Isaac Hayes,
Max Romeo,
Rekid,
Das Ding,
Leonard Cohen,
Can,
Piero Umiliani,
Barbara Tucker,
The Leaves,
Intrusion,
Alison Limerick,
Bobby Hutcherson,
Donald Byrd,
Deepchord,
Visage,
UT,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.