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 Antigua and from Mumbai.
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 1978.
I'm losing my edge.
To all the kids in Taipei and Bologna.
I'm losing my edge to the art-school Mexico City 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 David Bowie 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 Reuben Wilson to the grime kids.
I played it at CBGB's.
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 Gregory Isaacs. All the underground hits.
All Sällskapet tracks. I heard you have a vinyl of every Dorothy Ashby 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 '90s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron and Jamie xx record.
I hear that you and your band have sold your sitar and bought a 808.
I hear that you and your band have sold your 808 and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Busters,
Pierre Henry,
Tomorrow,
Peter and Kerry,
Lower 48,
Cecil Taylor,
Negative Approach,
Dead Boys,
Black Moon,
Roy Ayers,
Infiniti,
Minor Threat,
Aaron Thompson,
The Misunderstood,
The Royal Family And The Poor,
Thee Headcoats,
Darondo,
The Slackers,
Susan Cadogan,
Liaisons Dangereuses,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
K-Klass,
Inner City,
The Index,
Roxy Music,
Buzzcocks,
La Düsseldorf,
Technova,
Ossler,
The Gladiators,
Fort Wilson Riot,
Mad Mike,
FM Einheit,
John Holt,
Yazoo,
Jesper Dahlbäck,
Judy Mowatt,
Youth Brigade,
Ajijia Myrayebe,
Flash Fearless,
Agent Orange,
8 Eyed Spy,
Royal Trux,
The Victims,
Mandrill,
Marcia Griffiths,
Moss Icon,
Sun City Girls,
The Last Poets,
the Human League,
Scion,
Lou Reed & Metallica,
Traffic Nightmare,
Kango’s Stein Massive,
Radiopuhelimet,
the Slits,
Oblivians,
Sam Rivers,
EPMD,
Robert Hood,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.