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 Luxembourg and from Mexico City.
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 Salvador.
I'm losing my edge to the art-school London 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the linndrum sounds with much patience.
I was there when Tom Verlaine 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 Barrington Levy to the electroclash 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 Quadrant. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every These Immortal Souls 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your güiro and bought a snare.
I hear that you and your band have sold your snare and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
The Alarm Clocks,
The West Coast Pop Art Experimental Band,
Boogie Down Productions,
Robert Görl,
Gichy Dan,
Slick Rick,
Janne Schatter,
Marcia Griffiths,
Audionom,
Kool G Rap & DJ Polo,
Jeru the Damaja,
Public Image Ltd.,
Mo-Dettes,
Lower 48,
Electric Prunes,
Barclay James Harvest,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sister Nancy,
Bob Dylan,
John Coltrane,
Neil Young,
Derrick Morgan,
Bobby Hutcherson,
Bobby Sherman,
Echospace,
Agent Orange,
8 Eyed Spy,
Sam Rivers,
Marc Almond,
Joe Finger,
The Associates,
James Chance & The Contortions,
London Community Gospel Choir,
Wasted Youth,
Q and Not U,
Glambeats Corp.,
Major Organ And The Adding Machine,
Black Bananas,
Red Lorry Yellow Lorry,
Livin' Joy,
Leonard Cohen,
Underground Resistance,
Nirvana,
Jeff Mills,
The Gladiators,
Robert Wyatt,
This Heat,
Dr. Dre and Snoop Doggy Dog,
Rhythm & Sound,
Mr. Review,
DJ Style,
Monolake,
DNA,
Von Mondo,
Crime,
Skaos,
The Index,
De La Soul & Jungle Brothers,
Pharaoh Sanders and the Fire Engines,
Adolescents,
Bill Wells,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.