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 Cameroon and from Lille.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Lille and Tehran.
I'm losing my edge to the art-school Johannesburg 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 1976 at the first Wire practice in a loft in Watford.
I was working on the organ sounds with much patience.
I was there when Donald Fagen 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 Black Pus to the crunk 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 Bad Manners. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every The Happenings 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camouflage,
The West Coast Pop Art Experimental Band,
Man Eating Sloth,
E-Dancer,
The Monks,
Bob Dylan,
The Trojans,
Johnny Osbourne,
Captain Beefheart & His Magic Band,
Model 500,
Infiniti,
Magazine,
Soul II Soul,
MDC,
Strawberry Alarm Clock,
Quadrant,
Thinking Fellers Union Local 282,
World's Most,
The Martian,
Sarah Menescal,
Mary Jane Girls,
Fad Gadget,
Dr. Dre and Snoop Doggy Dog,
Godley & Creme,
Skaos,
London Community Gospel Choir,
OOIOO,
Pet Shop Boys,
The Beau Brummels,
Gregory Isaacs,
The Grass Roots,
Amon Düül II,
Glambeats Corp.,
Marshall Jefferson,
Saccharine Trust,
The Stooges,
Clear Light,
Hot Snakes,
Man Parrish,
Ronnie Foster,
B.T. Express,
Porter Ricks,
Kas Product,
Albert Ayler,
John Cale,
Jimmy McGriff,
Skarface,
Goldenarms,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Babytalk,
The J.B.'s,
Main Source,
Dawn Penn,
the Fania All-Stars,
Negative Approach,
Roy Ayers Ubiquity,
Basic Channel,
Banda Bassotti,
Selector Dub Narcotic,
Dennis Brown,
Gil Scott-Heron & Brian Jackson,
A Flock of Seagulls,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.