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 Peru and from Cairo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1964 to 1970.
I'm losing my edge.
To all the kids in Salvador and Manila.
I'm losing my edge to the art-school Salvador 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 theremin sounds with much patience.
I was there when Holger Czukay 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 Major Organ And The Adding Machine to the dance kids.
I played it at the 40 Watt.
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 Alton Ellis. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every In Retrospect record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Television record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Blake Baxter,
Eddi Front,
The Fortunes,
The United States of America,
Brass Construction,
Echospace,
The Detroit Cobras,
Fifty Foot Hose,
Sun City Girls,
Charles Mingus,
Carl Craig,
Pylon,
Magazine,
Yaz,
Minor Threat,
Basic Channel,
The Associates,
Terror Squad Feat. Camron,
The Last Poets,
Audionom,
Infiniti,
Cybotron,
Eric Dolphy,
Jacob Miller,
the Bar-Kays,
Y Pants,
H. Thieme,
Severed Heads,
Slick Rick,
Funky Four + One,
Subhumans,
Q65,
Johnny Osbourne,
Heavy D & The Boyz,
The Gories,
Matthew Halsall,
John Coltrane,
Tomorrow,
The Barracudas,
Kango’s Stein Massive,
Rotary Connection,
Das Ding,
Dual Sessions,
Tropical Tobacco,
Harpers Bizarre,
Index,
The Vogues,
Von Mondo,
The Raincoats,
Bush Tetras,
Bob Dylan,
Depeche Mode,
Accadde A,
Fatback Band,
Massinfluence,
Derrick May,
Be Bop Deluxe,
Sunsets and Hearts,
Kauko Röyhkä ja Narttu,
Bobby Hutcherson,
Spoonie Gee,
The Searchers, The Searchers, The Searchers, The Searchers.
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.