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 Ecuador and from Glasgow.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Salvador.
I'm losing my edge to the art-school Beijing 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the organ 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 Charles Mingus 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 K-Klass. All the underground hits.
All The Angels of Light tracks. I heard you have a vinyl of every Stockholm Monsters 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Pere Ubu,
The J.B.'s,
K-Klass,
Sonny Sharrock,
The Blackbyrds,
Faust,
Michelle Simonal,
The Dead C,
Stereo Dub,
Kas Product,
Mr. Review,
Crime,
Joe Smooth,
Dave Gahan,
Ohio Players,
Sly & The Family Stone,
The Doors,
Brand Nubian,
The Chocolate Watch Band,
New York Dolls,
The Dirtbombs,
Gang Starr,
Chris & Cosey,
The Toasters,
Marcia Griffiths,
Albert Ayler,
The Techniques,
Siouxsie and the Banshees,
Country Joe & The Fish,
The Mighty Diamonds,
Moby Grape,
Wolf Eyes,
Clear Light,
Camouflage,
Ponytail,
Kerrie Biddell,
Robert Wyatt,
Todd Rundgren,
The Walker Brothers,
Ronan,
Patti Smith,
Cameo,
Gregory Isaacs,
The Gories,
Crispian St. Peters,
The Fortunes,
The Peanut Butter Conspiracy,
Drive Like Jehu,
Duran Duran,
Sixth Finger,
James Chance & The Contortions,
Desert Stars,
Swans,
John Coltrane,
Rosa Yemen,
Avey Tare & Kría Brekkan,
the Fania All-Stars,
Con Funk Shun,
Derrick May,
DJ Sneak,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.