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 Albania and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Glasgow.
I'm losing my edge to the art-school Beijing 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Andrew Ashong & Theo Parrish to the rap 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 The Moody Blues. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Mission of Burma record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Simply Red record.
I hear that you and your band have sold your theremin and bought a güiro.
I hear that you and your band have sold your güiro and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
Japan,
The American Breed,
Ken Boothe,
Fat Boys,
X-102,
Tubeway Army,
Lou Reed,
Marvin Gaye,
Flash Fearless,
The Star Department,
the Germs,
Young Marble Giants,
Von Mondo,
Bootsy Collins,
John Cale,
Kurtis Blow,
Leonard Cohen,
The Gun Club,
Schoolly D,
Boz Scaggs,
Scratch Acid,
Sam Rivers,
Blake Baxter,
Spoonie Gee,
John Foxx,
Lonnie Liston Smith,
Gong,
Andrew Ashong & Theo Parrish,
Kauko Röyhkä ja Narttu,
The Techniques,
Kings Of Tomorrow,
Lalann,
Newcleus,
Lebanon Hanover,
David McCallum,
Skaos,
Rod Modell,
Piero Umiliani,
Gabor Szabo,
Rapeman,
Underground Resistance,
Severed Heads,
David Axelrod,
Marmalade,
Minny Pops,
Ultra Naté,
Maleditus Sound,
Eric B and Rakim,
Pagans,
Marshall Jefferson,
Junior Murvin,
Deutsch Amerikanische Freundschaft,
U.S. Maple,
Tom Boy,
Morten Harket,
PIL,
Tres Demented,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.