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 Venezuela and from Mumbai.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Lagos and Taipei.
I'm losing my edge to the art-school Lille 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 chamberlin 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 Kurtis Blow to the disco 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 Albert Ayler. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every Marvin Gaye record on German import.
I heard that you have a white label of every seminal rap 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 guitar and are throwing your macbook out the window because you want to make something real. You want to make a Spoonie Gee record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Chocolate Watch Band,
Country Joe & The Fish,
Eyeless In Gaza,
Pagans,
Wighnomy Brothers & Robag Wruhme,
John Lydon,
Albert Ayler,
Nas,
Gil Scott Heron,
The Divine Comedy,
Kings Of Tomorrow,
Nik Kershaw,
Second Layer,
Cecil Taylor,
Godley & Creme,
Moebius,
Davy DMX,
Funky Four + One,
Dual Sessions,
The Move,
Kevin Saunderson,
Duran Duran,
Matthew Halsall,
Glenn Branca,
The Gories,
Agitation Free,
Quadrant,
Bootsy Collins,
Arcadia,
Todd Terry,
Gian Franco Pienzio,
The Victims,
Neil Young,
Surgeon,
DNA,
Maurizio,
Vladislav Delay,
London Community Gospel Choir,
the Normal,
Kool G Rap & DJ Polo,
Tomorrow,
Grauzone,
Roxette,
Ultravox,
Pharaoh Sanders and the Fire Engines,
Eli Mardock,
Suicide,
The Beau Brummels,
Tres Demented,
Theoretical Girls,
Derrick May,
Skarface,
Harmonia,
The Durutti Column,
Bang On A Can,
Jacob Miller,
The Motions,
Fifty Foot Hose,
Dead Boys,
the Slits,
The J.B.'s,
Eric Copeland,
Inner City,
The Mojo Men, The Mojo Men, The Mojo Men, The Mojo Men.
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.