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 Iceland and from Shanghai.
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 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Bremen.
I'm losing my edge to the art-school Tehran 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the oboe 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 Carl Craig to the jazz 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 Dennis Brown. All the underground hits.
All Sonic Youth tracks. I heard you have a vinyl of every James Chance & The Contortions 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 '80s cut and another box set from the '90s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a X-Ray Spex record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
Man Eating Sloth,
Main Source,
Ponytail,
Tomorrow,
The Pretty Things,
Crooked Eye,
Lebanon Hanover,
JFA,
Fort Wilson Riot,
Peter Gordon & Love of Life Orchestra,
Sly & The Family Stone,
Todd Terry,
Qualms,
Marine Girls,
Niagra,
Derrick Morgan,
Youth Brigade,
Johnny Clarke,
Lakeside,
Minnie Riperton,
Excepter,
Pussy Galore,
Mission of Burma,
Jesper Dahlback,
Letta Mbulu,
Michelle Simonal,
Robert Hood,
Pierre Henry,
Mr. Review,
Newcleus,
The Gories,
Ultravox,
Andrew Ashong & Theo Parrish,
The Last Poets,
World's Most,
Interpol,
Gil Scott-Heron & Brian Jackson,
Bang On A Can,
Althea and Donna,
Babytalk,
Terrestrial Tones,
Lucky Dragons,
Max Romeo,
The Stooges,
Orchestral Manoeuvres in the Dark,
Erasure,
Gil Scott Heron,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pharoah Sanders,
Susan Cadogan,
The Electric Prunes,
Rhythm & Sound,
The Residents,
Scientists,
The Cramps,
Sight & Sound,
Glenn Branca,
David Bowie,
The Five Americans,
Faraquet,
Adolescents,
Ice-T, Ice-T, Ice-T, Ice-T.
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.