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 Serbia and from Tokyo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Woodstock.
I'm losing my edge to the art-school Sao Paulo 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 1984 at the first Arcadia practice in a loft in London.
I was working on the marimba 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 Grandmaster Flash to the grime kids.
I played it at the Roxy.
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 Harmonia. All the underground hits.
All Alice Coltrane tracks. I heard you have a vinyl of every Kevin Saunderson record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Terrestrial Tones record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
Funky Four + One,
The New Christs,
London Community Gospel Choir,
Gil Scott Heron,
Minnie Riperton,
Jacques Brel,
Dawn Penn,
Bauhaus,
Kool G Rap & DJ Polo,
The Mummies,
Notorious BIG live in Amsterdam,
Henry Cow,
Teenage Jesus and the Jerks,
Art Ensemble Of Chicago,
Little Man,
Bang On A Can,
Joe Finger,
The Flesh Eaters,
Pierre Henry,
Maleditus Sound,
Gabor Szabo,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Beasts of Bourbon,
Motorama,
Rhythm & Sound,
Swell Maps,
Desert Stars,
the Normal,
Rotary Connection,
New York Dolls,
Johnny Osbourne,
One Last Wish,
Marc Romboy vs. Booka Shade,
Robert Hood,
Kenny Larkin,
The Leaves,
Depeche Mode,
Amon Düül,
Goldenarms,
MC5,
Nick Cave & The Bad Seeds,
PIL,
Ronan,
The Skatalites,
Japan,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Chocolate Watch Band,
Unwound,
Lyres,
Liaisons Dangereuses,
The Wake,
Rites of Spring,
Dave Gahan,
Bobby Byrd,
The Music Machine,
Dorothy Ashby,
Don Cherry,
Aural Exciters,
The Walker Brothers,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.