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 Turkey and from Calgary.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Manchester.
I'm losing my edge to the art-school Sao Paulo 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 spring reverb 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 Oblivians to the grime kids.
I played it at Trash.
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 Dorothy Ashby. All the underground hits.
All Piero Umiliani tracks. I heard you have a vinyl of every Grauzone record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your güiro and bought a sitar.
I hear that you and your band have sold your sitar and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Reagan Youth,
Sonny Sharrock,
Joy Division,
Sad Lovers and Giants,
Rufus Thomas,
Black Pus,
Peter & Gordon,
Kerri Chandler,
The Royal Family And The Poor,
Lou Christie,
Grey Daturas,
Television Personalities,
Flamin' Groovies,
Dave Gahan,
Jimmy McGriff,
the Slits,
Bobby Sherman,
Bootsy's Rubber Band,
Vaughan Mason & Crew,
Lou Reed,
Albert Ayler,
Stockholm Monsters,
The Zeros,
Wighnomy Brothers & Robag Wruhme,
Cameo,
Avey Tare,
Sam Rivers,
Loose Ends,
Morten Harket,
Deutsch Amerikanische Freundschaft,
James Chance & The Contortions,
Judy Mowatt,
Lightning Bolt,
Jesper Dahlback,
Big Daddy Kane,
Rod Modell,
Man Parrish,
Los Fastidios,
Television,
Pete Rock & C.L. Smooth,
Oneida,
Section 25,
Sixth Finger,
The Flesh Eaters,
Fifty Foot Hose,
L. Decosne,
Popol Vuh,
The Red Krayola,
The New Christs,
Scion,
The Last Poets,
Heavy D & The Boyz,
Magma,
The Offenders,
Max Romeo,
The American Breed,
Carl Craig,
Saccharine Trust,
Masters at Work,
Fad Gadget,
Niagra, Niagra, Niagra, Niagra.
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.