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 South Sudan and from Toronto.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1970.
I'm losing my edge.
To all the kids in Glasgow and Tehran.
I'm losing my edge to the art-school Cairo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the sitar sounds with much patience.
I was there when Holger Czukay 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 Cal Tjader to the rap kids.
I played it at the Crocodile.
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 Tim Buckley. All the underground hits.
All The Mighty Diamonds tracks. I heard you have a vinyl of every Marmalade record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a güiro 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 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gastr Del Sol,
Eddi Front,
The Birthday Party,
Oppenheimer Analysis,
Wasted Youth,
Grandmaster Flash,
Public Image Ltd.,
Kango’s Stein Massive,
Cybotron,
Rotary Connection,
The Black Dice,
The Sisters of Mercy,
Con Funk Shun,
The Peanut Butter Conspiracy,
Thee Headcoats,
Anthony Braxton,
Graham Central Station,
Ludus,
Gang Gang Dance,
Throbbing Gristle,
Man Parrish,
Japan,
Lightning Bolt,
Hoover,
Dawn Penn,
Bauhaus,
Max Romeo,
Kas Product,
Oneida,
the Sonics,
James Chance & The Contortions,
Lou Reed & John Cale,
Angry Samoans,
Lonnie Liston Smith,
Fifty Foot Hose,
Urselle,
Nirvana,
Television,
Severed Heads,
Boz Scaggs,
Intrusion,
Matthew Halsall,
the Human League,
Liliput,
Fela Kuti,
Susan Cadogan,
Lee Hazlewood,
Letta Mbulu,
Jerry Gold Smith,
The Grass Roots,
Gang Starr,
Clear Light,
Newcleus,
The Pop Group,
Tomorrow,
Rod Modell,
Monolake,
UT,
Brand Nubian,
R.M.O.,
Country Joe & The Fish,
Glambeats Corp.,
Lalo Schifrin,
Vainqueur,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.