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 Tajikistan and from Accra.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1971.
I'm losing my edge.
To all the kids in Salvador and Johannesburg.
I'm losing my edge to the art-school Columbus 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 1984 at the first Arcadia practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Rites of Spring to the crunk kids.
I played it at the Spitz.
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 Q and Not U tracks. I heard you have a vinyl of every The Mojo Men record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Carl Craig,
Sarah Menescal,
Sight & Sound,
Slave,
Technova,
Section 25,
The Selecter,
Rekid,
Johnny Osbourne,
Metal Thangz,
Gang Green,
Organ,
Kevin Saunderson,
Swans,
Roxette,
the Normal,
Marine Girls,
Bobby Byrd,
The Modern Lovers,
Loose Ends,
Idris Muhammad,
The Names,
Darondo,
Heavy D & The Boyz,
Howard Jones,
Delta 5,
Dual Sessions,
Pulsallama,
Depeche Mode,
Stockholm Monsters,
Vaughan Mason & Crew,
Eric Copeland,
Chris & Cosey,
Bang On A Can,
Joe Smooth,
The Music Machine,
Captain Beefheart & His Magic Band,
The Motions,
Half Japanese,
Roy Ayers,
Amon Düül II,
KRS-One,
Tres Demented,
Nation of Ulysses,
DJ Style,
The Velvet Underground,
cv313,
Tropical Tobacco,
New York Dolls,
DNA,
Harpers Bizarre,
Judy Mowatt,
Lungfish,
The Monks,
Michelle Simonal,
Richard Hell and the Voidoids,
Pylon, Pylon, Pylon, Pylon.
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.