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 Ivory Coast and from Calgary.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Salvador and Hong Kong.
I'm losing my edge to the art-school Philadelphia 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 snare sounds with much patience.
I was there when David Bowie 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 Doors to the rap kids.
I played it at the Roxy.
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 Colin Newman. All the underground hits.
All Faust tracks. I heard you have a vinyl of every Radio Birdman 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 '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis 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?
The Moleskins,
Jeff Mills,
Brick,
Bootsy Collins,
Stiv Bators,
Ash Ra Tempel,
Index,
Gang Green,
Andrew Ashong & Theo Parrish,
The Happenings,
Jacques Brel,
H. Thieme,
Jerry's Kids,
Gabor Szabo,
Aural Exciters,
Kaleidoscope,
Moss Icon,
Brass Construction,
Eric B and Rakim,
Junior Murvin,
Marc Romboy vs. Booka Shade,
Rakim,
Ultra Naté,
The Busters,
Derrick Morgan,
Amazonics,
DeepChord presents Echospace,
Vaughan Mason & Crew,
Marshall Jefferson,
the Slits,
Piero Umiliani,
Absolute Body Control,
Kings Of Tomorrow,
Boz Scaggs,
Skaos,
OOIOO,
Johnny Osbourne,
Interpol,
Severed Heads,
Swell Maps,
Rites of Spring,
Archie Shepp,
Basic Channel,
Talk Talk,
Rahsaan Roland Kirk,
T. Rex,
Niagra,
Louis and Bebe Barron,
Smog,
The Divine Comedy,
Zapp,
Larry & the Blue Notes,
Pete Rock & C.L. Smooth,
Bobbi Humphrey,
Ludus,
Marvin Gaye,
Model 500,
Sonny Sharrock,
X-101,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.