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 Dominican Republic and from Lille.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and London.
I'm losing my edge to the art-school Beijing 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 Nile Rodgers 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 Ornette Coleman to the electroclash 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 Gong. All the underground hits.
All Technova tracks. I heard you have a vinyl of every Jeff Mills 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 '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
X-101,
Fluxion,
Alison Limerick,
Brothers Johnson,
The Fortunes,
Donny Hathaway,
Barclay James Harvest,
Fad Gadget,
The Index,
The Gun Club,
Ponytail,
Cabaret Voltaire,
The Zeros,
The Cowsills,
Matthew Bourne,
Brand Nubian,
Zapp,
Notorious Big And Bone Thugs,
Laurel Aitken,
David Axelrod,
Tommy Roe,
Main Source,
Anakelly,
Kas Product,
Boogie Down Productions,
Orchestral Manoeuvres in the Dark,
Fear,
Eli Mardock,
Joe Smooth,
Lebanon Hanover,
Sällskapet,
Sly & The Family Stone,
Judy Mowatt,
The Dead C,
Sonny Sharrock,
Sarah Menescal,
Colin Newman,
Grey Daturas,
Bobby Womack,
L. Decosne,
10cc,
Procol Harum,
Skarface,
Thee Headcoats,
The Names,
Barrington Levy,
Gang Green,
Deadbeat,
Aswad,
the Swans,
Sonic Youth,
The Slits,
Roger Hodgson,
Shuggie Otis,
Grandmaster Flash and the Furious Five,
Chris & Cosey,
Minutemen,
Vainqueur,
Kerri Chandler,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.