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 Malta and from Toronto.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Copenhagen.
I'm losing my edge to the art-school Lagos 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba 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 Archie Shepp to the disco kids.
I played it at the 40 Watt.
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 Aswad. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every The Litter record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bob Dylan,
Notorious BIG live in Amsterdam,
This Heat,
Boredoms,
Rowland S Howard / Lydia Lunch,
The Grass Roots,
Hashim,
Von Mondo,
The Leaves,
Maleditus Sound,
London Community Gospel Choir,
The Sonics,
Stockholm Monsters,
Arthur Verocai,
Funkadelic,
Clear Light,
Blancmange,
Avey Tare,
Ponytail,
Y Pants,
The Count Five,
Neil Young,
Quando Quango,
Lee Hazlewood,
Sexual Harrassment,
Orchestral Manoeuvres in the Dark,
Cluster,
The Chocolate Watch Band,
Kenny Larkin,
The Dave Clark Five,
The Red Krayola,
Sparks,
Liliput,
Skriet,
Bootsy's Rubber Band,
Goldenarms,
The Searchers,
Jimmy McGriff,
the Normal,
Beasts of Bourbon,
Dual Sessions,
ABC,
Gil Scott-Heron and Jamie xx,
Aswad,
World's Most,
Au Pairs,
The Dead C,
Camouflage,
Mark Hollis,
Marc Romboy vs. Booka Shade,
Unwound,
Supertramp,
Kool G Rap & DJ Polo,
Pole,
Whodini,
Vainqueur,
The Durutti Column,
KRS-One,
K-Klass,
James White and The Blacks,
PIL,
Mandrill,
Gang Gang Dance,
Public Image Ltd.,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.