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 Djibouti and from Bremen.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Philadelphia.
I'm losing my edge to the art-school Lyon 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 spring reverb 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 Sugar Minott to the crunk kids.
I played it at the 40 Watt.
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 Hardrive. All the underground hits.
All Ralphi Rosario tracks. I heard you have a vinyl of every Infiniti record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Zapp record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cluster,
Lightning Bolt,
Popol Vuh,
La Düsseldorf,
Lou Reed & John Cale,
Oblivians,
Don Cherry,
The Index,
Piero Umiliani,
Pylon,
Bobby Byrd,
Chris & Cosey,
Urselle,
Joe Finger,
Theoretical Girls,
Marmalade,
The Happenings,
Au Pairs,
Red Lorry Yellow Lorry,
Newcleus,
Godley & Creme,
The Beau Brummels,
Soul II Soul,
Beasts of Bourbon,
Angry Samoans,
Siglo XX,
Sällskapet,
cv313,
Kerri Chandler,
Notorious Big And Bone Thugs,
Wally Richardson,
Sun Ra Arkestra,
Ultramagnetic MC's,
DJ Style,
Aaron Thompson,
Orchestral Manoeuvres in the Dark,
Todd Terry,
Depeche Mode,
Ponytail,
Lindisfarne,
Mission of Burma,
Heaven 17,
The Durutti Column,
Peter & Gordon,
X-101,
The Motions,
Dark Day,
Gang Starr,
Bluetip,
Ultra Naté,
Supertramp,
Drive Like Jehu,
The Smiths,
Wasted Youth,
Fad Gadget,
Ludus,
The Pretty Things,
Yusef Lateef,
Easy Going,
Nick Fraelich,
Max Romeo,
Royal Trux, Royal Trux, Royal Trux, Royal Trux.
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.