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 Brunei and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Cairo.
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 1976 at the first Chic practice in a loft in New York.
I was working on the harpsichord sounds with much patience.
I was there when David Bowie 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 David McCallum to the rap 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 Gil Scott-Heron and Jamie xx. All the underground hits.
All Oblivians tracks. I heard you have a vinyl of every Mandrill 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 '70s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mummies,
Lebanon Hanover,
June Days,
Rod Modell,
Pete Rock & C.L. Smooth,
Half Japanese,
Liaisons Dangereuses,
Khruangbin,
Chrome,
Unrelated Segments,
The Saints,
The Fall,
Gil Scott-Heron and Jamie xx,
Deadbeat,
The Victims,
Thee Headcoats,
Q65,
Visage,
Echospace,
Notorious Big And Bone Thugs,
OOIOO,
Marcia Griffiths,
Tomorrow,
Drexciya,
Camberwell Now,
CMW,
Marc Almond,
The Selecter,
Make Up,
Oblivians,
The Knickerbockers,
Bauhaus,
Quantec,
Eyeless In Gaza,
Youth Brigade,
Slick Rick,
Country Teasers,
Big Daddy Kane,
Andrew Ashong & Theo Parrish,
Gary Puckett & The Union Gap,
The Slits,
Derrick May,
Nick Fraelich,
One Last Wish,
The Music Machine,
Barry Ungar,
Yellowson,
Frankie Knuckles,
Lyres,
Aswad,
Saccharine Trust,
Roy Ayers,
The Offenders,
Ludus,
Sister Nancy,
Essential Logic,
PIL,
Amon Düül,
Sonny Sharrock,
The Flesh Eaters,
Magazine, Magazine, Magazine, Magazine.
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.