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 Laos and from Jakarta.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Johannesburg.
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 Mistral practice in a loft in Amsterdam.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Hoover to the electroclash kids.
I played it at Trash.
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 Shuggie Otis. All the underground hits.
All Q and Not U tracks. I heard you have a vinyl of every Chris & Cosey record on German import.
I heard that you have a white label of every seminal crunk 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 marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Ohio Players record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
Make Up,
Dawn Penn,
Deadbeat,
Cheater Slicks,
Jacob Miller,
Boogie Down Productions,
Vaughan Mason & Crew,
Todd Terry,
Maurizio,
Scott Walker + Sunn O))),
KRS-One,
Drexciya,
Ornette Coleman,
Slick Rick,
Joensuu 1685,
Chrome,
Deepchord,
Louis and Bebe Barron,
Kango’s Stein Massive,
Eurythmics,
Half Japanese,
Country Teasers,
Desert Stars,
These Immortal Souls,
The Smoke,
John Coltrane,
Thee Headcoats,
Magazine,
Ronan,
Qualms,
Slave,
Brothers Johnson,
U.S. Maple,
The Sonics,
UT,
Angry Samoans,
Arcadia,
Rhythm & Sound,
Shoche,
B.T. Express,
The United States of America,
Soulsonic Force,
Laurel Aitken,
Underground Resistance,
Neu!,
Yellowson,
The Slackers,
Warren Ellis,
Marine Girls,
Piero Umiliani,
The Kinks,
Gil Scott Heron,
Letta Mbulu,
Lindisfarne,
The Black Dice,
Moebius,
Joyce Sims,
Dave Gahan,
Minor Threat,
Youth Brigade,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.