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 Toronto.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1962 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Mumbai.
I'm losing my edge to the art-school Beijing 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 chamberlin 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 The Slits to the disco 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 The Young Rascals. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Talk Talk record on German import.
I heard that you have a white label of every seminal dance 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 a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Masta Ace, Craig G, Kool G Rap, Big Daddy Kane record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
Rekid,
Black Flag,
Absolute Body Control,
Shoche,
Adolescents,
Outsiders,
Hashim,
Average White Band,
Underground Resistance,
Nas,
cv313,
Derrick May,
Marcia Griffiths,
World's Most,
Terrestrial Tones,
Neu!,
Brand Nubian,
Intrusion,
Gang of Four,
Crime,
Gang Green,
Maleditus Sound,
Sun City Girls,
Animal Collective,
The Royal Family And The Poor,
Grandmaster Flash and the Furious Five,
The Count Five,
Jesper Dahlbäck,
The Alarm Clocks,
Liaisons Dangereuses,
Deadbeat,
Blancmange,
Curtis Mayfield,
Cameo,
Fatback Band,
Toni Rubio,
Ossler,
Thee Headcoats,
The Cramps,
James White and The Blacks,
Susan Cadogan,
Johnny Osbourne,
Procol Harum,
The Evens,
Aloha Tigers,
Bauhaus,
L. Decosne,
Man Parrish,
Sight & Sound,
Joey Negro,
K-Klass,
The Five Americans,
Hoover,
Roy Ayers,
Jeru the Damaja,
Sexual Harrassment,
Sarah Menescal,
Von Mondo,
Monolake, Monolake, Monolake, Monolake.
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.