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 Italy and from Accra.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Calgary and Mexico City.
I'm losing my edge to the art-school Glasgow 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 1984 at the first Arcadia practice in a loft in London.
I was working on the 808 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 Curtis Mayfield to the dance 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 Marine Girls. All the underground hits.
All Sam Rivers tracks. I heard you have a vinyl of every Kevin Saunderson 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 '90s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Birthday Party record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Josef K,
The Human League,
Tim Buckley,
Bob Dylan,
Gastr Del Sol,
Shoche,
Frankie Knuckles,
Sun City Girls,
Sällskapet,
Main Source,
Sex Pistols,
Fela Kuti,
Isaac Hayes,
The Misunderstood,
Sound Behaviour,
X-102,
Mars,
Juan Atkins,
Absolute Body Control,
Lindisfarne,
Little Man,
Suicide,
Hasil Adkins,
Morten Harket,
Pet Shop Boys,
Roy Ayers,
PIL,
Moss Icon,
Yellowson,
The Mummies,
Gil Scott-Heron & Brian Jackson,
Ice-T,
Desert Stars,
Black Pus,
Kool Moe Dee,
Q65,
Motorama,
Delon & Dalcan,
Khruangbin,
Simply Red,
Pantaleimon,
The Offenders,
Lou Reed & John Cale,
Oppenheimer Analysis,
A Flock of Seagulls,
The Monochrome Set,
Notorious BIG live in Amsterdam,
Brass Construction,
Jacques Brel,
Metal Thangz,
Avey Tare's Slasher Flicks,
MDC,
Niagra,
the Association,
Gil Scott-Heron and Jamie xx,
Warsaw,
Joey Negro,
Soulsonic Force,
Kas Product,
Aloha Tigers,
Angry Samoans,
Dorothy Ashby,
Excepter,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
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.