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 Andorra and from Delhi.
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 1972.
I'm losing my edge.
To all the kids in Cairo and Tokyo.
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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the chamberlin 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 B.T. Express to the grime 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 Jesper Dahlbäck. All the underground hits.
All DeepChord presents Echospace tracks. I heard you have a vinyl of every Hasil Adkins record on German import.
I heard that you have a white label of every seminal grime 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 an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
De La Soul & Jungle Brothers,
The Music Machine,
The Buckinghams,
Suburban Knight,
Essential Logic,
Fatback Band,
Charles Mingus,
Nils Olav,
Lindisfarne,
Slave,
Kool G Rap & DJ Polo,
Robert Görl,
Sonny Sharrock,
X-102,
Q and Not U,
Deadbeat,
Nico,
Erasure,
The Mojo Men,
Lou Reed & Metallica,
Fort Wilson Riot,
Brand Nubian,
Brick,
The Modern Lovers,
The Red Krayola,
Marcia Griffiths,
Gian Franco Pienzio,
X-101,
the Slits,
Todd Rundgren,
Crispian St. Peters,
L. Decosne,
Moebius,
Aural Exciters,
Glambeats Corp.,
Byron Stingily,
Johnny Clarke,
Notorious BIG live in Amsterdam,
Mars,
Kurtis Blow,
Big Daddy Kane,
Laurel Aitken,
Magazine,
Nik Kershaw,
Sexual Harrassment,
The Standells,
One Last Wish,
Rod Modell,
Cabaret Voltaire,
Kings Of Tomorrow,
Oneida,
Stereo Dub,
The Peanut Butter Conspiracy,
Pierre Henry,
Glenn Branca,
Bobbi Humphrey,
Eddi Front,
The Dirtbombs,
Marshall Jefferson,
Danielle Patucci,
The Monks, The Monks, The Monks, The Monks.
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.