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 Equatorial Guinea and from Sao Paulo.
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 1970.
I'm losing my edge.
To all the kids in Lille and Winnipeg.
I'm losing my edge to the art-school Delhi 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the synthesizer 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 Amon Düül to the techno kids.
I played it at the Crocodile.
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 Mr. Review. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every Smog 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 '60s cut and another box set from the '80s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a World's Most record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Terry,
Smog,
Kauko Röyhkä ja Narttu,
Parry Music,
John Coltrane,
Lafayette Afro Rock Band,
Gerry Rafferty,
JFA,
Kango’s Stein Massive,
Grandmaster Flash,
MDC,
Mark Hollis,
Thee Headcoats,
Mantronix,
DJ Sneak,
Crash Course in Science,
The Walker Brothers,
Jandek,
Tropical Tobacco,
The Slits,
Deakin,
Joey Negro,
CMW,
Justin Hinds & The Dominoes,
Bizarre Inc.,
Desert Stars,
Kerrie Biddell,
Wire,
X-102,
Vladislav Delay,
Grandmaster Flash and the Furious Five,
Jeru the Damaja,
Notorious Big And Bone Thugs,
Chris & Cosey,
Echospace,
Gastr Del Sol,
Model 500,
The Slackers,
Cal Tjader,
Subhumans,
Sly & The Family Stone,
Fatback Band,
Traffic Nightmare,
Jesper Dahlback,
The Monochrome Set,
Junior Murvin,
Crime,
Strawberry Alarm Clock,
Little Man,
Kings Of Tomorrow,
The Skatalites,
Wighnomy Brothers & Robag Wruhme,
K-Klass,
Steve Hackett,
Sugar Minott,
Eric B and Rakim,
EPMD,
Rites of Spring,
Cabaret Voltaire,
The Count Five,
The Litter,
Angels of Light & Akron/Family,
Stereo Dub,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.