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 Kiribati and from Houston.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Mumbai and Shanghai.
I'm losing my edge to the art-school Tokyo 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 linndrum 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 Hashim to the techno kids.
I played it at Cafe Wha.
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 Royal Trux. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Barclay James Harvest 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 linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scan 7,
The Star Department,
Tim Buckley,
Letta Mbulu,
Gil Scott Heron,
Saccharine Trust,
LL Cool J,
Buzzcocks,
The Grass Roots,
Slick Rick,
Idris Muhammad,
Rowland S Howard / Lydia Lunch,
Kango’s Stein Massive,
Dennis Brown,
Unrelated Segments,
Monks,
John Lydon,
Faraquet,
Kenny Larkin,
K-Klass,
Flash Fearless,
Pere Ubu,
Roy Ayers Ubiquity,
Gang Gang Dance,
Public Image Ltd.,
Crispian St. Peters,
Oblivians,
Maleditus Sound,
The Beau Brummels,
Nas,
Matthew Halsall,
ABC,
A Flock of Seagulls,
Scratch Acid,
Curtis Mayfield,
Scrapy,
Eric B and Rakim,
Gerry Rafferty,
Little Man,
Kayak,
Derrick May,
Jesper Dahlback,
Sound Behaviour,
Joyce Sims,
Selector Dub Narcotic,
Art Ensemble Of Chicago,
the Normal,
Pylon,
Camberwell Now,
Jerry Gold Smith,
Jacob Miller,
Television,
Donny Hathaway,
The Detroit Cobras,
Heavy D & The Boyz,
The Motions,
Shuggie Otis,
The Slits,
Visage,
Terry Callier,
The Cure,
Panda Bear,
Johnny Osbourne,
The Vogues, The Vogues, The Vogues, The Vogues.
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.