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 Somalia and from Mumbai.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Lagos and Milan.
I'm losing my edge to the art-school Salvador 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the güiro 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 The Grass Roots to the funk 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 Grauzone. All the underground hits.
All A Certain Ratio tracks. I heard you have a vinyl of every Rahsaan Roland Kirk 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Misunderstood,
the Swans,
Thee Headcoats,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
John Holt,
Underground Resistance,
Cameo,
Sunsets and Hearts,
Cabaret Voltaire,
Strawberry Alarm Clock,
Section 25,
Funky Four + One,
The Moleskins,
Bang On A Can,
The Electric Prunes,
Sad Lovers and Giants,
Spandau Ballet,
Manfred Mann's Earth Band,
Nirvana,
Urselle,
Sight & Sound,
Slick Rick,
Pole,
Sandy B,
Public Image Ltd.,
Ludus,
the Fania All-Stars,
Unrelated Segments,
Laurel Aitken,
MC5,
The Smiths,
Flash Fearless,
F. McDonald,
Faust,
Absolute Body Control,
Neu!,
Alphaville,
Bobbi Humphrey,
Flamin' Groovies,
Teenage Jesus and the Jerks,
Notorious Big And Bone Thugs,
Eden Ahbez,
Mantronix,
Janne Schatter,
Max Romeo,
Jesper Dahlbäck,
Popol Vuh,
Main Source,
Joey Negro,
Sticky Fingaz feat. Raekwon,
The Vogues,
K-Klass,
Radio Birdman,
The Alarm Clocks,
Hardrive,
These Immortal Souls,
The Standells,
Erasure,
Lindisfarne,
Skarface,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.