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 Laos and from Jakarta.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1965 to 1975.
I'm losing my edge.
To all the kids in Toronto and Houston.
I'm losing my edge to the art-school Hong Kong 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Gang Starr to the funk kids.
I played it at the Hacienda.
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 Bobbi Humphrey. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every The Jesus and Mary Chain record on German import.
I heard that you have a white label of every seminal grime 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 an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Lalann record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Rotary Connection,
Supertramp,
Smog,
Sun Ra Arkestra,
Roxette,
Brass Construction,
Justin Hinds & The Dominoes,
The Real Kids,
Donny Hathaway,
Eli Mardock,
Tropical Tobacco,
The Sound,
Fluxion,
Section 25,
Altered Images,
The Gladiators,
Kas Product,
Ralphi Rosario,
The American Breed,
Fatback Band,
Stereo Dub,
Ponytail,
Bush Tetras,
The Music Machine,
Intrusion,
the Bar-Kays,
Wighnomy Brothers & Robag Wruhme,
Erasure,
Nirvana,
Manfred Mann's Earth Band,
Dawn Penn,
the Slits,
The Slits,
Derrick Morgan,
Technova,
The Tremeloes,
Gregory Isaacs,
Susan Cadogan,
Stiv Bators,
Q and Not U,
Röyhkä ja Rättö ja Lehtisalo,
London Community Gospel Choir,
The Slackers,
The Chocolate Watch Band,
Sällskapet,
Subhumans,
Throbbing Gristle,
Essential Logic,
Ultimate Spinach,
Lightning Bolt,
Q65,
Amazonics,
Fifty Foot Hose,
Heaven 17,
Soulsonic Force,
Anakelly,
DJ Sneak,
Henry Cow,
The Selecter,
Rod Modell,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.