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 Ireland and from Mumbai.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Madrid and Halifax.
I'm losing my edge to the art-school Delhi 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 Josef K practice in a loft in Edinburgh.
I was working on the linndrum 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 Ajijia Myrayebe to the electroclash kids.
I played it at the Hacienda.
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 Lalo Schifrin. All the underground hits.
All Pantaleimon tracks. I heard you have a vinyl of every Little Man record on German import.
I heard that you have a white label of every seminal funk 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 an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ituana,
Yusef Lateef,
Blancmange,
Susan Cadogan,
Man Eating Sloth,
Brand Nubian,
Oppenheimer Analysis,
Lindisfarne,
The Pretty Things,
David Axelrod,
Louis and Bebe Barron,
The Walker Brothers,
The Slits,
Television,
Magazine,
The Pop Group,
Nas,
Technova,
Bauhaus,
James White and The Blacks,
Gregory Isaacs,
Teenage Jesus and the Jerks,
Althea and Donna,
Mars,
Brothers Johnson,
Bill Near,
D'Angelo,
L. Decosne,
Crispy Ambulance,
Pole,
Harmonia,
Eurythmics,
Maurizio,
Harry Pussy,
The Fugs,
Cecil Taylor,
Steve Hackett,
The Trojans,
Rakim,
Soft Cell,
Lucky Dragons,
Albert Ayler,
Severed Heads,
Art Ensemble Of Chicago,
Duran Duran,
Rahsaan Roland Kirk,
Interpol,
Max Romeo,
Gian Franco Pienzio,
10cc,
Boredoms,
Gary Puckett & The Union Gap,
Mandrill,
Roy Ayers,
Lonnie Liston Smith,
The Doobie Brothers,
Joy Division,
Alice Coltrane,
Leonard Cohen,
Iggy Pop,
Symarip,
Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes.
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.