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 Trinidad & Tobago and from London.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 Portland and London.
I'm losing my edge to the art-school Bologna 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 marimba sounds with much patience.
I was there when Captain Beefheart 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 Idris Muhammad to the rap kids.
I played it at the Astoria.
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 Pantytec. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal crunk 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 synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unrelated Segments,
Gil Scott-Heron and Jamie xx,
Goldenarms,
Pylon,
Jeff Mills,
Zapp,
Lungfish,
Gian Franco Pienzio,
Man Parrish,
Neil Young,
Terrestrial Tones,
Banda Bassotti,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
In Retrospect,
Bang On A Can,
The Remains,
Delon & Dalcan,
Deutsch Amerikanische Freundschaft,
The Mojo Men,
Zero Boys,
The Smoke,
Ludus,
Stereo Dub,
Lalann,
Dorothy Ashby,
Black Sheep,
Ken Boothe,
Anthony Braxton,
Maleditus Sound,
Quando Quango,
Bobby Byrd,
Inner City,
The Dead C,
Dr. Dre and Snoop Doggy Dog,
Royal Trux,
Rhythim Is Rhythim,
U.S. Maple,
Red Lorry Yellow Lorry,
Bobby Womack,
Warren Ellis,
Larry & the Blue Notes,
Soul Sonic Force,
Hot Snakes,
The Gap Band,
Boredoms,
Fela Kuti,
Oneida,
Don Cherry,
Peter & Gordon,
Sound Behaviour,
Eddi Front,
Kevin Saunderson,
Scrapy,
The Gun Club,
The Busters,
Marc Almond,
Tres Demented,
Agitation Free,
Sonic Youth,
Eyeless In Gaza,
Rites of Spring,
Spandau Ballet,
Junior Murvin,
cv313, cv313, cv313, cv313.
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.