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 Suriname and from Bologna.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Copenhagen.
I'm losing my edge to the art-school Mexico City 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 arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Kango’s Stein Massive to the dance 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 Beasts of Bourbon. All the underground hits.
All Lafayette Afro Rock Band tracks. I heard you have a vinyl of every Index 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 '90s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Rahsaan Roland Kirk record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amazonics,
Marvin Gaye,
Ultimate Spinach,
Con Funk Shun,
Panda Bear,
The Skatalites,
Orchestral Manoeuvres in the Dark,
Johnny Osbourne,
Magazine,
The Pop Group,
Mad Mike,
Gong,
Infiniti,
Organ,
Arab on Radar,
The Smiths,
Blake Baxter,
Kango’s Stein Massive,
Tomorrow,
Electric Light Orchestra,
Kool G Rap & DJ Polo,
Gang Gang Dance,
Janne Schatter,
Roy Ayers Ubiquity,
The Cramps,
Rhythim Is Rhythim,
Bad Manners,
JFA,
Inner City,
Donald Byrd,
T.S.O.L.,
Au Pairs,
EPMD,
Darondo,
The Busters,
Sad Lovers and Giants,
Aaron Thompson,
Spandau Ballet,
Essential Logic,
Roy Ayers,
Ronnie Foster,
Alison Limerick,
the Normal,
The United States of America,
The Detroit Cobras,
Swell Maps,
Grandmaster Flash and the Furious Five,
Tropical Tobacco,
Section 25,
Wasted Youth,
Max Romeo,
Pierre Henry,
the Swans,
Pagans,
Desert Stars,
Ultramagnetic MC's,
Aswad,
R.M.O.,
Model 500,
The West Coast Pop Art Experimental Band,
These Immortal Souls,
Joensuu 1685,
Minny Pops, Minny Pops, Minny Pops, Minny Pops.
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.