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 Brazil and from Manila.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Taipei and Lille.
I'm losing my edge to the art-school London 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the sitar sounds with much patience.
I was there when Captain Beefheart 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 Archie Shepp to the techno kids.
I played it at the Crocodile.
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 Alton Ellis. All the underground hits.
All World's Most tracks. I heard you have a vinyl of every the Bar-Kays record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Happenings,
Siglo XX,
DJ Style,
Gabor Szabo,
Radiohead,
Nico,
Cameo,
Sällskapet,
Ludus,
Skarface,
Supertramp,
The Fortunes,
Brick,
Nas,
Loose Ends,
Bad Manners,
Masters at Work,
The Wake,
A Certain Ratio,
Laurel Aitken,
Sixth Finger,
The Vogues,
Derrick Morgan,
Deepchord,
Eve St. Jones,
Liaisons Dangereuses,
Ronnie Foster,
Fela Kuti,
the Normal,
Yaz,
Peter and Kerry,
Erykah Badu,
Sun City Girls,
Jawbox,
The Human League,
Kauko Röyhkä ja Narttu,
Barry Ungar,
Pagans,
Matthew Bourne,
Newcleus,
Heavy D & The Boyz,
The Smoke,
Yusef Lateef,
The Tremeloes,
Fifty Foot Hose,
London Community Gospel Choir,
Bobby Womack,
Roxy Music,
Little Man,
Barbara Tucker,
Reuben Wilson,
Oblivians,
Bootsy Collins,
Gang Green,
Pylon,
Maurizio,
Quantec,
Harry Pussy,
Terry Callier,
Desert Stars,
Lee Hazlewood,
Black Moon,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.