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 Ukraine and from Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Columbus and Mumbai.
I'm losing my edge to the art-school Bremen 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Fatback Band to the funk 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 Electric Prunes. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Connie Case 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 '80s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Kinks,
Thee Headcoats,
Average White Band,
The Cure,
The Misunderstood,
Maurizio,
The Invisible,
Lower 48,
Marcia Griffiths,
The Alarm Clocks,
Notorious BIG live in Amsterdam,
London Community Gospel Choir,
Lonnie Liston Smith,
Sister Nancy,
DNA,
Terry Callier,
Marmalade,
The Sisters of Mercy,
Tubeway Army,
Curtis Mayfield,
Vaughan Mason & Crew,
Gastr Del Sol,
Dorothy Ashby,
Cecil Taylor,
Tres Demented,
Arcadia,
Marine Girls,
The New Christs,
Cymande,
Section 25,
Joyce Sims,
Manfred Mann's Earth Band,
The Golliwogs,
Rakim,
Jimmy McGriff,
E-Dancer,
New Age Steppers,
Ludus,
Ohio Players,
The Gories,
Black Flag,
Barry Ungar,
Fat Boys,
Juan Atkins,
Terror Squad Feat. Camron,
Rhythm & Sound,
Strawberry Alarm Clock,
Matthew Bourne,
The Doobie Brothers,
Junior Murvin,
Althea and Donna,
Index,
The Fortunes,
UT,
The Fugs,
Zapp,
Susan Cadogan,
Q and Not U,
Echospace,
Fear,
Fela Kuti,
The Modern Lovers,
Franke, Franke, Franke, Franke.
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.