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 Marshall Islands and from Hong Kong.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Bologna and Hong Kong.
I'm losing my edge to the art-school Seoul 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 1978 at the first Visage practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Donald Fagen 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 Slave to the jazz kids.
I played it at the Spitz.
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 Symarip. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every Gang Starr 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blues Magoos,
Junior Murvin,
Cameo,
Fluxion,
Khruangbin,
Urselle,
Qualms,
Cybotron,
Pussy Galore,
Idris Muhammad,
Kurtis Blow,
Super Lover Cee & Casanova Rud,
DJ Sneak,
Donald Byrd,
Marc Romboy vs. Booka Shade,
London Community Gospel Choir,
The Selecter,
It's A Beautiful Day,
Television Personalities,
Minutemen,
the Soft Cell,
Marmalade,
Teenage Jesus and the Jerks,
Roxette,
The Mojo Men,
Ralphi Rosario,
Scan 7,
Eddi Front,
Selector Dub Narcotic,
Art Ensemble Of Chicago,
The West Coast Pop Art Experimental Band,
The Gun Club,
Siglo XX,
Amon Düül II,
Dark Day,
The Techniques,
Peter and Kerry,
Gian Franco Pienzio,
Sun Ra Arkestra,
Soulsonic Force,
Brick,
Yaz,
Brothers Johnson,
The Pretty Things,
Sparks,
Liaisons Dangereuses,
a-ha,
Lalann,
Funky Four + One,
Darondo,
The Detroit Cobras,
Warren Ellis,
Beasts of Bourbon,
The Fall,
Peter & Gordon,
Von Mondo,
Angels of Light & Akron/Family,
Matthew Bourne,
Nirvana,
Pete Rock & C.L. Smooth,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.