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 Libya and from Edmonton.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Lagos and Paris.
I'm losing my edge to the art-school Salvador 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 Todd Terry to the grunge 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 Ultimate Spinach. All the underground hits.
All ABBA tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal disco 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 güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
the Bar-Kays,
Sugar Minott,
Zero Boys,
Marvin Gaye,
Lou Reed,
Andrew Ashong & Theo Parrish,
Mo-Dettes,
DNA,
The Cowsills,
Soft Machine,
Strawberry Alarm Clock,
Royal Trux,
Eve St. Jones,
Metal Thangz,
Shuggie Otis,
Jeru the Damaja,
This Heat,
X-Ray Spex,
Pantytec,
Echo & the Bunnymen,
Jeff Lynne,
Marc Almond,
Au Pairs,
Mad Mike,
Piero Umiliani,
Absolute Body Control,
Essential Logic,
Monolake,
Buzzcocks,
The Blues Magoos,
Drive Like Jehu,
Barclay James Harvest,
EPMD,
Qualms,
Gerry Rafferty,
Siouxsie and the Banshees,
A Certain Ratio,
Arthur Verocai,
Joensuu 1685,
Scientists,
Sarah Menescal,
London Community Gospel Choir,
The Kinks,
Derrick Morgan,
Chris Corsano,
H. Thieme,
The Selecter,
The Young Rascals,
the Normal,
Pagans,
kango's stein massive,
Kings Of Tomorrow,
Oneida,
Max Romeo,
Young Marble Giants,
The Music Machine,
Japan,
Pharoah Sanders,
Yusef Lateef,
the Slits,
Swell Maps, Swell Maps, Swell Maps, Swell Maps.
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.