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 Tanzania and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1963 to 1979.
I'm losing my edge.
To all the kids in Delhi and Mumbai.
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 spring reverb 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 The Busters 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 Bob Dylan. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Prince Buster record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Nico record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Procol Harum,
Mandrill,
Bootsy Collins,
Prince Buster,
Fluxion,
Michelle Simonal,
The Sound,
Reagan Youth,
China Crisis,
The Mummies,
Jeff Mills,
Desert Stars,
The United States of America,
Subhumans,
The Gladiators,
Los Fastidios,
Jesper Dahlback,
Livin' Joy,
The Modern Lovers,
Andrew Ashong & Theo Parrish,
Newcleus,
Bad Manners,
The Star Department,
Howard Jones,
Lou Reed,
Cabaret Voltaire,
Rosa Yemen,
Ronan,
Gastr Del Sol,
The Mighty Diamonds,
The Tremeloes,
Camouflage,
Liliput,
The Index,
Aural Exciters,
Brass Construction,
the Germs,
The Skatalites,
Derrick May,
Lonnie Liston Smith,
Swans,
X-Ray Spex,
Royal Trux,
D'Angelo,
Slick Rick,
Sparks,
Maleditus Sound,
Bobby Byrd,
Dark Day,
Brick,
Pulsallama,
Funkadelic,
Stiv Bators,
Morten Harket,
Fela Kuti,
Porter Ricks,
The Searchers,
Sun City Girls,
Sandy B,
Johnny Clarke,
Pere Ubu,
Supertramp,
Country Teasers,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.