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 Thailand and from Bremen.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Lille and Milan.
I'm losing my edge to the art-school Accra 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the mellotron sounds with much patience.
I was there when Captain Beefheart 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 Johnny Clarke to the grime kids.
I played it at the 40 Watt.
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 Underground Resistance. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every Simply Red record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
Nas,
London Community Gospel Choir,
the Association,
The Mummies,
Pharoah Sanders,
Fugazi,
the Soft Cell,
Cabaret Voltaire,
Scrapy,
Chris & Cosey,
the Germs,
Rowland S Howard / Lydia Lunch,
Beasts of Bourbon,
Drive Like Jehu,
Curtis Mayfield,
Wolf Eyes,
Erasure,
Smog,
Arthur Verocai,
Bobby Byrd,
Reuben Wilson,
Anthony Braxton,
Eddi Front,
Hot Snakes,
Pussy Galore,
Jerry Gold Smith,
Funkadelic,
Eve St. Jones,
Barrington Levy,
Super Lover Cee & Casanova Rud,
David McCallum,
Ken Boothe,
The Dave Clark Five,
Ajijia Myrayebe,
Electric Prunes,
Terry Callier,
CMW,
Suburban Knight,
Gil Scott Heron,
Alphaville,
Talk Talk,
Glambeats Corp.,
Donald Byrd,
Pole,
Toni Rubio,
Larry & the Blue Notes,
Deepchord,
Crooked Eye,
Scratch Acid,
Girls At Our Best!,
Marmalade,
Second Layer,
Intrusion,
Monolake,
Man Eating Sloth,
Big Daddy Kane,
Slick Rick,
Fela Kuti,
Hoover,
Sly & The Family Stone,
Sällskapet,
Gil Scott-Heron and Jamie xx,
Fluxion, Fluxion, Fluxion, Fluxion.
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.