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 Bosnia Herzegovina and from Hong Kong.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1976.
I'm losing my edge.
To all the kids in Seoul and Taipei.
I'm losing my edge to the art-school Jakarta 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 808 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 Rapeman to the jazz 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 The Black Dice. All the underground hits.
All Nick Cave & The Bad Seeds tracks. I heard you have a vinyl of every Susan Cadogan record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rakim,
Thee Headcoats,
Half Japanese,
Dorothy Ashby,
Parry Music,
Au Pairs,
Manfred Mann's Earth Band,
Crispian St. Peters,
Camberwell Now,
Procol Harum,
Laurel Aitken,
The Leaves,
Gerry Rafferty,
The Walker Brothers,
Röyhkä ja Rättö ja Lehtisalo,
Dave Gahan,
Ash Ra Tempel,
Bluetip,
Grauzone,
Lightning Bolt,
Kool G Rap & DJ Polo,
Gong,
Rekid,
Henry Cow,
R.M.O.,
Anthony Braxton,
Easy Going,
Main Source,
Dual Sessions,
Maurizio,
Fela Kuti,
Sad Lovers and Giants,
Scan 7,
Talk Talk,
The Mummies,
Barrington Levy,
Grey Daturas,
Tom Boy,
Country Joe & The Fish,
The Toasters,
Minny Pops,
CMW,
DeepChord presents Echospace,
Oppenheimer Analysis,
Idris Muhammad,
Lonnie Liston Smith,
John Holt,
Black Bananas,
Masters at Work,
Joey Negro,
Rosa Yemen,
Radio Birdman,
the Human League,
Inner City,
Barbara Tucker,
Gil Scott Heron,
The Misunderstood,
James White and The Blacks,
Andrew Hill,
Selector Dub Narcotic,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.