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 Ireland and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 Johannesburg and Manchester.
I'm losing my edge to the art-school Manila 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum 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 DJ Style 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 D'Angelo. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funkadelic,
The Misunderstood,
Andrew Ashong & Theo Parrish,
A Certain Ratio,
Oppenheimer Analysis,
London Community Gospel Choir,
Ultravox,
New Order,
Absolute Body Control,
The Dave Clark Five,
Underground Resistance,
Erykah Badu,
Half Japanese,
Kevin Saunderson,
Pagans,
Hasil Adkins,
Radio Birdman,
Metal Thangz,
Barry Ungar,
Roy Ayers Ubiquity,
Robert Hood,
Black Moon,
DJ Sneak,
Fifty Foot Hose,
The Monks,
Dark Day,
Fort Wilson Riot,
Maleditus Sound,
Jeff Mills,
Henry Cow,
The Trojans,
ABBA,
Stetsasonic,
Brick,
E-Dancer,
Basic Channel,
Pet Shop Boys,
Kayak,
Parry Music,
Kings Of Tomorrow,
Suburban Knight,
Theoretical Girls,
Donny Hathaway,
Erasure,
DNA,
The Human League,
The Neon Judgement,
Maurizio,
DJ Style,
U.S. Maple,
The Sonics,
Lonnie Liston Smith,
The Barracudas,
Harmonia,
Siglo XX,
Young Marble Giants,
Matthew Halsall,
Tears for Fears,
Art Ensemble Of Chicago,
Faust, Faust, Faust, Faust.
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.