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 Finland and from Jakarta.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Columbus and Toronto.
I'm losing my edge to the art-school Winnipeg 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 Nile Rodgers 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 Aloha Tigers to the grime 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 Judy Mowatt. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Agent Orange record on German import.
I heard that you have a white label of every seminal techno 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 clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Jay Z And Juelz record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Electric Light Orchestra,
Freddie Wadling,
Tim Buckley,
Liaisons Dangereuses,
Amon Düül II,
The Saints,
Stiv Bators,
Rites of Spring,
Eric B and Rakim,
The Music Machine,
Mission of Burma,
Don Cherry,
Quadrant,
Sun Ra,
In Retrospect,
The Zeros,
Donald Byrd,
Jawbox,
Eli Mardock,
The Fugs,
Young Marble Giants,
Country Teasers,
The Walker Brothers,
The Wake,
Cecil Taylor,
Deadbeat,
Rakim,
Khruangbin,
Bush Tetras,
The Cowsills,
the Association,
Popol Vuh,
Marc Almond,
Justin Hinds & The Dominoes,
The Modern Lovers,
Donny Hathaway,
The Royal Family And The Poor,
KRS-One,
Circle Jerks,
Little Man,
Minny Pops,
Slave,
The Star Department,
The Five Americans,
Harpers Bizarre,
Kango’s Stein Massive,
Joe Finger,
Mantronix,
Porter Ricks,
Television,
Lyres,
Hot Snakes,
FM Einheit,
Camberwell Now,
London Community Gospel Choir,
Bluetip,
The Flesh Eaters,
Pulsallama,
Lindisfarne,
Brass Construction,
Hardrive, Hardrive, Hardrive, Hardrive.
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.