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 Andorra and from Mexico City.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Hong Kong.
I'm losing my edge to the art-school Portland 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 1978 at the first Visage practice in a loft in London.
I was working on the organ 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 Alton Ellis to the dance kids.
I played it at the Spitz.
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 Parry Music. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Jesper Dahlbäck 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra Arkestra,
Lightning Bolt,
Crispy Ambulance,
The Raincoats,
Gang Starr,
Amon Düül,
Joe Finger,
Model 500,
DJ Sneak,
The Durutti Column,
Funkadelic,
Deutsch Amerikanische Freundschaft,
Bill Wells,
Wally Richardson,
FM Einheit,
Terrestrial Tones,
Minnie Riperton,
The Doobie Brothers,
Von Mondo,
Gil Scott-Heron & Brian Jackson,
Lonnie Liston Smith,
Porter Ricks,
Siglo XX,
Kango’s Stein Massive,
Royal Trux,
The Five Americans,
The Invisible,
Siouxsie and the Banshees,
Slave,
Connie Case,
Fela Kuti,
Dawn Penn,
Underground Resistance,
Todd Rundgren,
Jacques Brel,
Blancmange,
Quadrant,
Arab on Radar,
Donald Byrd,
Masters at Work,
Rosa Yemen,
The Dave Clark Five,
Marmalade,
Clear Light,
Scan 7,
Parry Music,
Sunsets and Hearts,
Black Moon,
Erykah Badu,
Monolake,
Ronan,
Peter & Gordon,
Nirvana,
Avey Tare & Kría Brekkan,
Man Parrish,
Grandmaster Flash and the Furious Five,
Althea and Donna,
Bush Tetras,
The Martian,
James White and The Blacks,
Gabor Szabo,
Mandrill, Mandrill, Mandrill, Mandrill.
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.