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 Lebanon and from Lyon.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Halifax and Lille.
I'm losing my edge to the art-school Manila 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the snare 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 Black Sheep to the electroclash kids.
I played it at the Crocodile.
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 The Misunderstood. All the underground hits.
All Piero Umiliani tracks. I heard you have a vinyl of every Dark Day record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wolf Eyes,
Robert Hood,
The Gladiators,
Glambeats Corp.,
Guru Guru,
The Searchers,
Angels of Light & Akron/Family,
Glenn Branca,
Ossler,
Skriet,
Echospace,
Jesper Dahlback,
Frankie Knuckles,
LL Cool J,
The Monks,
Gil Scott Heron,
James White and The Blacks,
Negative Approach,
Marcia Griffiths,
Ronan,
Eyeless In Gaza,
Blake Baxter,
The Misunderstood,
The Doobie Brothers,
the Bar-Kays,
Al Stewart,
Rapeman,
Ornette Coleman,
Piero Umiliani,
Gang Gang Dance,
Fear,
Tres Demented,
The New Christs,
Junior Murvin,
Kool G Rap & DJ Polo,
Adolescents,
Cheater Slicks,
Dorothy Ashby,
the Association,
A Certain Ratio,
Terror Squad Feat. Camron,
Lou Christie,
Judy Mowatt,
Fat Boys,
The Alarm Clocks,
L. Decosne,
Ohio Players,
Cybotron,
The Angels of Light,
Quando Quango,
Bad Manners,
Electric Light Orchestra,
Sarah Menescal,
Talk Talk,
Scratch Acid,
Bush Tetras,
Eric Copeland,
Loose Ends,
Liaisons Dangereuses,
Supertramp,
Jeru the Damaja,
The Happenings,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.