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 Israel and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 Manila and Houston.
I'm losing my edge to the art-school Madrid 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 Second Layer practice in a loft in South London.
I was working on the synthesizer 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 Bobby Byrd to the grime kids.
I played it at the Astoria.
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 Eddi Front. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every Ornette Coleman 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 '50s cut and another box set from the '80s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Groovy Waters record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Silicon Teens,
Ultra Naté,
The Gories,
Mr. Review,
The Victims,
Sticky Fingaz feat. Raekwon,
The Dead C,
Justin Hinds & The Dominoes,
Adolescents,
John Holt,
Stiv Bators,
The Gladiators,
Minor Threat,
The Move,
Mark Hollis,
Alton Ellis,
Derrick May,
Accadde A,
Harry Pussy,
John Foxx,
Ohio Players,
Los Fastidios,
The Last Poets,
Avey Tare,
JFA,
The Toasters,
Masters at Work,
ABC,
Avey Tare & Kría Brekkan,
Royal Trux,
The Men They Couldn't Hang,
Camberwell Now,
Ludus,
Mary Jane Girls,
Lou Christie,
Gerry Rafferty,
Matthew Halsall,
Robert Wyatt,
T.S.O.L.,
Janne Schatter,
Electric Light Orchestra,
Sarah Menescal,
Curtis Mayfield,
Colin Newman,
X-102,
Ash Ra Tempel,
Gabor Szabo,
Deutsch Amerikanische Freundschaft,
Shoche,
the Swans,
Banda Bassotti,
Yellowson,
Tommy Roe,
Chris Corsano,
Icehouse,
Rowland S Howard / Lydia Lunch,
Vladislav Delay,
The Fortunes,
The Shadows of Knight,
Scrapy,
Nation of Ulysses,
The Cowsills,
Bobby Sherman,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.