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 Korea North and from Bremen.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1968 to 1973.
I'm losing my edge.
To all the kids in London and Manila.
I'm losing my edge to the art-school Accra 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 Josef K practice in a loft in Edinburgh.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer 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 Divine Comedy to the techno 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 Marshall Jefferson. All the underground hits.
All Infiniti tracks. I heard you have a vinyl of every Television Personalities 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 '90s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Yazoo record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
Gil Scott-Heron & Brian Jackson,
Dr. Dre and Snoop Doggy Dog,
Porter Ricks,
Section 25,
Black Pus,
Slick Rick,
The Gladiators,
Hardrive,
Black Moon,
FM Einheit,
Cluster,
The Jesus and Mary Chain,
Drive Like Jehu,
Lakeside,
MC5,
The Invisible,
Hot Snakes,
Radiohead,
David Bowie,
Pagans,
The Pop Group,
Stetsasonic,
Piero Umiliani,
X-Ray Spex,
Selector Dub Narcotic,
Big Daddy Kane,
Toni Rubio,
Sugar Minott,
Alison Limerick,
Donny Hathaway,
Lebanon Hanover,
Rahsaan Roland Kirk,
Art Ensemble Of Chicago,
Jeff Mills,
Soft Machine,
Echo & the Bunnymen,
Zero Boys,
Fatback Band,
Prince Buster,
Orchestral Manoeuvres in the Dark,
Accadde A,
Davy DMX,
DeepChord presents Echospace,
Crime,
Archie Shepp,
Public Enemy,
Ohio Players,
Suburban Knight,
Rotary Connection,
Roy Ayers Ubiquity,
The Wake,
The Raincoats,
the Sonics,
Scan 7,
The Slackers,
the Bar-Kays,
The Men They Couldn't Hang,
The Skatalites,
Stockholm Monsters,
Dennis Brown,
Reagan Youth,
Swell Maps,
Lou Christie, Lou Christie, Lou Christie, Lou Christie.
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.