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 El Salvador and from Manila.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Manchester and Calgary.
I'm losing my edge to the art-school Manchester 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 This Heat to the grime 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 Schoolly D. All the underground hits.
All Desert Stars tracks. I heard you have a vinyl of every Brand Nubian 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 '70s cut and another box set from the '90s.
I hear you're buying an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a DJ Style record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
Sexual Harrassment,
Eve St. Jones,
Robert Görl,
Kerrie Biddell,
Louis and Bebe Barron,
Josef K,
Oneida,
The Standells,
Vainqueur,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Max Romeo,
Roy Ayers,
kango's stein massive,
The J.B.'s,
The Count Five,
L. Decosne,
The Walker Brothers,
Excepter,
Panda Bear,
Amazonics,
Lou Reed & John Cale,
Interpol,
Porter Ricks,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sunsets and Hearts,
Gerry Rafferty,
The Remains,
Bootsy Collins,
CMW,
Stetsasonic,
X-101,
Public Enemy,
Radiohead,
Shoche,
Bobbi Humphrey,
Iggy Pop,
Stockholm Monsters,
Ten City,
Joe Smooth,
Tommy Roe,
The Dirtbombs,
Unwound,
Skaos,
The Selecter,
Angels of Light & Akron/Family,
The Gap Band,
The Alarm Clocks,
Ohio Players,
Beasts of Bourbon,
Black Sheep,
Jesper Dahlbäck,
Donald Byrd,
Liaisons Dangereuses,
DeepChord presents Echospace,
Talk Talk,
Unrelated Segments,
Rowland S Howard / Lydia Lunch,
Big Daddy Kane,
The Knickerbockers,
The Fugs,
Strawberry Alarm Clock,
Mars, Mars, Mars, Mars.
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.