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 Kyrgyzstan and from Cairo.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Columbus and Tehran.
I'm losing my edge to the art-school Halifax 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 1984 at the first Arcadia practice in a loft in London.
I was working on the oboe 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 Sad Lovers and Giants to the rap kids.
I played it at the 40 Watt.
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 N.O.R.E. Featuring Pharrell. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every Pole 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 '70s cut and another box set from the '90s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Monochrome Set record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
Scan 7,
Parry Music,
Franke,
U.S. Maple,
Notorious Big And Bone Thugs,
Todd Rundgren,
Susan Cadogan,
Visionaries,LMNO, T- Love & Iriscience,
Index,
Ken Boothe,
Gerry Rafferty,
Sister Nancy,
the Association,
Peter Gordon & Love of Life Orchestra,
Supertramp,
Underground Resistance,
Liliput,
Brass Construction,
Gang Gang Dance,
Andrew Hill,
Donald Byrd,
Ituana,
The Dead C,
The Doors,
Bob Dylan,
The Sound,
Pulsallama,
Public Enemy,
Average White Band,
B.T. Express,
Camberwell Now,
Flipper,
Brothers Johnson,
June Days,
Alison Limerick,
Barbara Tucker,
Con Funk Shun,
The Invisible,
Juan Atkins,
Circle Jerks,
Minor Threat,
Essential Logic,
KRS-One,
Black Bananas,
Pharaoh Sanders and the Fire Engines,
Barclay James Harvest,
Bauhaus,
The Last Poets,
The Moleskins,
Terrestrial Tones,
Tres Demented,
Funky Four + One,
Letta Mbulu,
Magma,
Gang of Four,
Todd Terry,
Adolescents,
The Modern Lovers,
Mars,
The Sisters of Mercy,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.