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 Lithuania and from Winnipeg.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1972.
I'm losing my edge.
To all the kids in Woodstock and Delhi.
I'm losing my edge to the art-school Madrid 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the rhodes 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 Jeff Mills 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 DJ Sneak. All the underground hits.
All Gil Scott-Heron and Jamie xx tracks. I heard you have a vinyl of every Ultra Naté 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 '60s cut and another box set from the '70s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
DJ Style,
The West Coast Pop Art Experimental Band,
the Normal,
X-102,
Brass Construction,
The Saints,
Howard Jones,
The American Breed,
Amazonics,
E-Dancer,
Cheater Slicks,
Dorothy Ashby,
Lee Hazlewood,
June Days,
A Flock of Seagulls,
Barry Ungar,
The Music Machine,
Rahsaan Roland Kirk,
Smog,
Joe Finger,
Lafayette Afro Rock Band,
The Five Americans,
Agent Orange,
Brick,
London Community Gospel Choir,
The Moleskins,
Neil Young,
Gang Starr,
Faraquet,
The Cramps,
Oppenheimer Analysis,
Selector Dub Narcotic,
a-ha,
The Angels of Light,
Siglo XX,
Ken Boothe,
Terrestrial Tones,
Eden Ahbez,
Johnny Osbourne,
Jerry Gold Smith,
Pagans,
The Motions,
The Alarm Clocks,
Schoolly D,
Khruangbin,
Jeru the Damaja,
Funky Four + One,
The Gap Band,
The Red Krayola,
Amon Düül II,
De La Soul & Jungle Brothers,
Das Ding,
The Seeds,
Notorious BIG live in Amsterdam,
Agitation Free,
Q65,
Delta 5,
Bill Wells,
Boogie Down Productions,
Animal Collective, Animal Collective, Animal Collective, Animal Collective.
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.