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 Afghanistan and from London.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Bremen.
I'm losing my edge to the art-school Seoul 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 Slits to the jazz 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 Gil Scott-Heron and Jamie xx. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Quando Quango 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 '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Curtis Mayfield,
Harpers Bizarre,
Half Japanese,
Red Lorry Yellow Lorry,
Jeff Mills,
Skriet,
Kool Moe Dee,
Gregory Isaacs,
Tim Buckley,
Kevin Saunderson,
Goldenarms,
The Modern Lovers,
Avey Tare's Slasher Flicks,
Kenny Larkin,
Thee Headcoats,
Crispy Ambulance,
The American Breed,
Fat Boys,
PIL,
The Fuzztones,
Soul Sonic Force,
Mo-Dettes,
Lucky Dragons,
Charles Mingus,
The Real Kids,
Lakeside,
Make Up,
Jerry's Kids,
Prince Buster,
Lebanon Hanover,
Reuben Wilson,
Ultramagnetic MC's,
Ossler,
Andrew Ashong & Theo Parrish,
Fear,
Hasil Adkins,
Gil Scott-Heron & Brian Jackson,
Sight & Sound,
Angels of Light & Akron/Family,
the Normal,
D'Angelo,
X-101,
Kurtis Blow,
Yaz,
Outsiders,
Strawberry Alarm Clock,
Surgeon,
Johnny Clarke,
Moss Icon,
David McCallum,
Bobby Byrd,
Nation of Ulysses,
The Angels of Light,
Minutemen,
Pantaleimon,
The Wake,
Nas,
Boogie Down Productions,
Dr. Dre and Snoop Doggy Dog,
L. Decosne,
Radio Birdman, Radio Birdman, Radio Birdman, Radio Birdman.
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.