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 Houston.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Seoul.
I'm losing my edge to the art-school Spokane 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Lou Reed 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 The Cure to the rap kids.
I played it at the Astoria.
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 Donny Hathaway. All the underground hits.
All This Heat tracks. I heard you have a vinyl of every Schoolly D 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Kool G Rap & DJ Polo record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barrington Levy,
Max Romeo,
Theoretical Girls,
Hashim,
The Cramps,
Vainqueur,
LL Cool J,
Gil Scott Heron,
The Chocolate Watch Band,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Move,
Oppenheimer Analysis,
Symarip,
Banda Bassotti,
Andrew Hill,
Public Enemy,
Byron Stingily,
Matthew Bourne,
World's Most,
DNA,
Blake Baxter,
Cabaret Voltaire,
Susan Cadogan,
Ituana,
Funkadelic,
Marshall Jefferson,
KRS-One,
Bobby Womack,
Porter Ricks,
Metal Thangz,
Rosa Yemen,
Yusef Lateef,
This Heat,
Maleditus Sound,
Supertramp,
Alton Ellis,
The Busters,
Gichy Dan,
Johnny Osbourne,
ABBA,
Scion,
The Count Five,
Don Cherry,
Barry Ungar,
U.S. Maple,
Lalann,
Aural Exciters,
David Bowie,
Roy Ayers Ubiquity,
The Music Machine,
Manfred Mann's Earth Band,
K-Klass,
48th St. Collective,
The Seeds,
Ornette Coleman,
Sandy B,
Lonnie Liston Smith,
Goldenarms,
John Coltrane,
Marmalade,
Bad Manners,
Rites of Spring,
Fort Wilson Riot,
Selector Dub Narcotic,
The Dead C, The Dead C, The Dead C, The Dead C.
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.