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 France and from Philadelphia.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1967 to 1975.
I'm losing my edge.
To all the kids in Taipei and New York.
I'm losing my edge to the art-school Cairo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 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 Girls At Our Best! to the techno 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 Gerry Rafferty. All the underground hits.
All Sixth Finger tracks. I heard you have a vinyl of every Sugar Minott record on German import.
I heard that you have a white label of every seminal punk 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 clarinet and a marimba 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 chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Zero Boys,
Kurtis Blow,
Bobby Womack,
The Evens,
The Blackbyrds,
The Seeds,
UT,
Altered Images,
Kango’s Stein Massive,
Lower 48,
The Leaves,
Ronnie Foster,
Television,
Popol Vuh,
Arab on Radar,
Nik Kershaw,
Deakin,
The Toasters,
Gabor Szabo,
Quadrant,
Jimmy McGriff,
Marmalade,
Sight & Sound,
It's A Beautiful Day,
Das Ding,
Joey Negro,
Main Source,
New Order,
Sunsets and Hearts,
Ituana,
The Jesus and Mary Chain,
Radio Birdman,
Slave,
Gary Puckett & The Union Gap,
Mars,
Underground Resistance,
Model 500,
Tom Boy,
Vladislav Delay,
Idris Muhammad,
Eric Dolphy,
Dr. Dre and Snoop Doggy Dog,
Kevin Saunderson,
Nick Fraelich,
Massinfluence,
T. Rex,
Au Pairs,
Black Pus,
New York Dolls,
kango's stein massive,
Delta 5,
Derrick May,
The Barracudas,
Sex Pistols,
Super Lover Cee & Casanova Rud,
The Zeros,
Gichy Dan,
The Happenings,
Matthew Bourne,
U.S. Maple,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.