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 South Sudan and from Manchester.
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 1972.
I'm losing my edge.
To all the kids in Accra and Bremen.
I'm losing my edge to the art-school Portland 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the spring reverb 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 Patti Smith to the electroclash kids.
I played it at Cafe Wha.
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 The Flesh Eaters. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Yusef Lateef record on German import.
I heard that you have a white label of every seminal techno 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 harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
The Monochrome Set,
Derrick May,
Andrew Hill,
The Move,
Kenny Larkin,
Pole,
The Neon Judgement,
The Angels of Light,
Kaleidoscope,
The Music Machine,
Rhythm & Sound,
Faraquet,
Camron Feat. Memphis Bleek And Beenie Seigel,
Severed Heads,
Crispian St. Peters,
Mo-Dettes,
Joensuu 1685,
Zero Boys,
Fat Boys,
Davy DMX,
Inner City,
Ultravox,
Sun Ra,
Massinfluence,
Slave,
The Litter,
Von Mondo,
Nick Cave & The Bad Seeds,
Notorious Big And Bone Thugs,
Drexciya,
Cymande,
Marmalade,
Jeru the Damaja,
Ituana,
Little Man,
T. Rex,
Robert Hood,
Lower 48,
Tom Boy,
JFA,
Ultramagnetic MC's,
10cc,
Motorama,
R.M.O.,
Joe Smooth,
Boogie Down Productions,
Ralphi Rosario,
Ice-T,
Marshall Jefferson,
U.S. Maple,
Icehouse,
Gang Starr,
Gang Gang Dance,
Jawbox,
Model 500,
Echo & the Bunnymen,
Alison Limerick,
Amazonics,
Public Image Ltd.,
The Zeros,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.