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 Trinidad & Tobago and from Delhi.
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 1978.
I'm losing my edge.
To all the kids in Paris and Glasgow.
I'm losing my edge to the art-school Seoul 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 Thompson Twins to the grime kids.
I played it at the Troubador.
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 Das Ding. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every Henry Cow 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 '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Selector Dub Narcotic,
Spandau Ballet,
The Invisible,
Moss Icon,
T.S.O.L.,
Outsiders,
Liaisons Dangereuses,
Pylon,
Guru Guru,
Aaron Thompson,
Vainqueur,
Beasts of Bourbon,
New Age Steppers,
Young Marble Giants,
Manfred Mann's Earth Band,
Wighnomy Brothers & Robag Wruhme,
Faust,
X-102,
Camberwell Now,
Monks,
Youth Brigade,
Kerri Chandler,
Gil Scott Heron,
Franke,
Inner City,
Louis and Bebe Barron,
Crooked Eye,
The Dirtbombs,
Alton Ellis,
Minny Pops,
Nirvana,
The American Breed,
Stetsasonic,
Peter Gordon & Love of Life Orchestra,
Man Eating Sloth,
Röyhkä ja Rättö ja Lehtisalo,
Joe Smooth,
Vaughan Mason & Crew,
U.S. Maple,
Duran Duran,
Liliput,
The Gap Band,
The Peanut Butter Conspiracy,
Average White Band,
Ohio Players,
Scion,
The Monks,
Thompson Twins,
the Swans,
The Happenings,
Cymande,
The Monochrome Set,
These Immortal Souls,
Hasil Adkins,
Can,
Tubeway Army,
Stereo Dub,
Avey Tare & Kría Brekkan,
Silicon Teens,
Pere Ubu,
Index,
Kayak,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.