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 Haiti and from Milan.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Glasgow.
I'm losing my edge to the art-school Winnipeg 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 spring reverb 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 Juan Atkins to the jazz kids.
I played it at the Troubador.
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 Bobby Sherman. All the underground hits.
All Circle Jerks tracks. I heard you have a vinyl of every The Index 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 sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Fela Kuti record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
Pole,
John Holt,
Echospace,
The Velvet Underground,
Kerrie Biddell,
Todd Rundgren,
The Stooges,
The Slackers,
Q65,
Con Funk Shun,
Rotary Connection,
Hardrive,
Juan Atkins,
Sad Lovers and Giants,
the Human League,
The Cure,
Make Up,
the Normal,
Deakin,
The Monochrome Set,
The Durutti Column,
Glambeats Corp.,
Harry Pussy,
Eyeless In Gaza,
Pussy Galore,
Radiopuhelimet,
Ponytail,
Roy Ayers,
The Red Krayola,
Thee Headcoats,
James Chance & The Contortions,
Audionom,
The Names,
Kaleidoscope,
Cabaret Voltaire,
Alton Ellis,
The Pretty Things,
Kurtis Blow,
Camron Feat. Memphis Bleek And Beenie Seigel,
Unrelated Segments,
The Martian,
Thompson Twins,
Gastr Del Sol,
Bluetip,
Wire,
The Raincoats,
The Trojans,
Sun Ra Arkestra,
Hashim,
F. McDonald,
Bobbi Humphrey,
Delon & Dalcan,
Selector Dub Narcotic,
The Peanut Butter Conspiracy,
June Days,
Deutsch Amerikanische Freundschaft,
Blake Baxter,
Gong,
Deadbeat,
Camron Feat. Jay Z And Juelz,
Dark Day, Dark Day, Dark Day, Dark Day.
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.