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 Estonia and from Calgary.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Tehran.
I'm losing my edge to the art-school Manila 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Guru Guru to the grime kids.
I played it at the Troubador.
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 Todd Terry. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every Malaria! 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 an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Yellowson record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Nick Fraelich,
Max Romeo,
Cymande,
Faust,
Charles Mingus,
Absolute Body Control,
Sexual Harrassment,
London Community Gospel Choir,
Rowland S Howard / Lydia Lunch,
The Red Krayola,
Crooked Eye,
James Chance & The Contortions,
Grandmaster Flash,
The Busters,
Fort Wilson Riot,
CMW,
Lizzy Mercier Descloux,
Terry Callier,
John Holt,
The Slits,
Essential Logic,
Pierre Henry,
Big Daddy Kane,
Selector Dub Narcotic,
Bang on a Can All-Stars,
John Lydon,
Saccharine Trust,
Nico,
Public Image Ltd.,
Au Pairs,
Rosa Yemen,
Camouflage,
Todd Rundgren,
the Human League,
New Order,
Stereo Dub,
K-Klass,
Silicon Teens,
Rhythm & Sound,
Ash Ra Tempel,
Agitation Free,
World's Most,
Roxy Music,
Minnie Riperton,
Scrapy,
Matthew Halsall,
David Axelrod,
Ken Boothe,
Strawberry Alarm Clock,
Main Source,
Pharoah Sanders,
Visage,
Justin Hinds & The Dominoes,
Bluetip,
Drive Like Jehu,
Gastr Del Sol,
Wolf Eyes,
the Association,
Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse.
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.