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 Belize and from Lille.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Accra and Winnipeg.
I'm losing my edge to the art-school Lagos 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 Second Layer practice in a loft in South London.
I was working on the arpeggiator 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 Icehouse to the electroclash 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 Eden Ahbez. All the underground hits.
All Hashim tracks. I heard you have a vinyl of every Be Bop Deluxe 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 '90s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
Chris Corsano,
Traffic Nightmare,
A Certain Ratio,
Hoover,
Negative Approach,
Yellowson,
Slick Rick,
Gichy Dan,
Joe Finger,
Unrelated Segments,
Kevin Saunderson,
The Blackbyrds,
Goldenarms,
Mr. Review,
Morten Harket,
The Leaves,
The Gories,
Ultra Naté,
Barrington Levy,
Tom Boy,
Selector Dub Narcotic,
Aaron Thompson,
Oneida,
Roy Ayers,
Skaos,
Manfred Mann's Earth Band,
Marcia Griffiths,
Bobby Sherman,
Chrome,
AZ,
Dawn Penn,
Nick Fraelich,
Fugazi,
Henry Cow,
Ituana,
Alice Coltrane,
Warren Ellis,
Man Eating Sloth,
Graham Central Station,
Swans,
Black Pus,
Gian Franco Pienzio,
Sight & Sound,
The Sound,
ABBA,
Gabor Szabo,
Spoonie Gee,
Swell Maps,
B.T. Express,
Eve St. Jones,
Ultramagnetic MC's,
Underground Resistance,
Masters at Work,
Avey Tare & Kría Brekkan,
Darondo,
Make Up,
Newcleus,
Q65,
Kool G Rap & DJ Polo,
Dennis Brown,
Sonny Sharrock,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.