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 Montenegro and from Lyon.
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 1974.
I'm losing my edge.
To all the kids in Winnipeg and Madrid.
I'm losing my edge to the art-school Columbus 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the marimba sounds with much patience.
I was there when Nile Rodgers 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 Human League to the crunk 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 The Real Kids. All the underground hits.
All Johnny Clarke tracks. I heard you have a vinyl of every Tom Boy 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donald Byrd,
The Cramps,
London Community Gospel Choir,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Walker Brothers,
The Blackbyrds,
Barclay James Harvest,
Cybotron,
Gregory Isaacs,
Flash Fearless,
Rhythm & Sound,
The Real Kids,
Marcia Griffiths,
Main Source,
Notorious BIG live in Amsterdam,
Electric Light Orchestra,
Suburban Knight,
Hardrive,
The West Coast Pop Art Experimental Band,
Aural Exciters,
Lou Christie,
Ultravox,
X-101,
Brick,
Bob Dylan,
Jimmy McGriff,
Sällskapet,
Letta Mbulu,
Cabaret Voltaire,
Black Moon,
Robert Hood,
Jandek,
Nico,
Sun Ra Arkestra,
Ten City,
The Slackers,
ABC,
Lafayette Afro Rock Band,
Radiopuhelimet,
Faust,
Grandmaster Flash,
Bobbi Humphrey,
The Zeros,
Stockholm Monsters,
Procol Harum,
The Beau Brummels,
Lizzy Mercier Descloux,
Soft Machine,
Q65,
The Chocolate Watch Band,
The Red Krayola,
The Electric Prunes,
Drive Like Jehu,
E-Dancer,
the Fania All-Stars,
Scientists,
The Detroit Cobras,
Liaisons Dangereuses,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.