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 Iran and from Mumbai.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Copenhagen.
I'm losing my edge to the art-school Tokyo 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 1978 at the first Visage practice in a loft in London.
I was working on the mellotron 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 Charles Mingus to the disco kids.
I played it at the Roxy.
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 DJ Style. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every Stockholm Monsters record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
Eric B and Rakim,
the Fania All-Stars,
The Golliwogs,
Japan,
The Alarm Clocks,
New Age Steppers,
Rosa Yemen,
The Dirtbombs,
Skaos,
Urselle,
Circle Jerks,
LL Cool J,
The Neon Judgement,
Man Parrish,
Amon Düül II,
Throbbing Gristle,
X-Ray Spex,
Barry Ungar,
OOIOO,
Procol Harum,
The Victims,
The Names,
Massinfluence,
The Fugs,
Ituana,
Ajijia Myrayebe,
Sun Ra Arkestra,
Agent Orange,
The Move,
Ornette Coleman,
Frankie Knuckles,
Eurythmics,
Siouxsie and the Banshees,
Rowland S Howard / Lydia Lunch,
the Bar-Kays,
Jacques Brel,
Lou Reed,
Moebius,
Nick Fraelich,
KRS-One,
Pantaleimon,
Khruangbin,
The Moleskins,
Lonnie Liston Smith,
Eric Dolphy,
Erykah Badu,
The Saints,
Stetsasonic,
The Monochrome Set,
Flipper,
Fad Gadget,
Gil Scott-Heron and Jamie xx,
Bill Near,
The Blues Magoos,
Niagra,
Ralphi Rosario,
Tim Buckley,
Tubeway Army,
Bobbi Humphrey,
Banda Bassotti,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.