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 Eritrea and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1971.
I'm losing my edge.
To all the kids in London and Johannesburg.
I'm losing my edge to the art-school Portland 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 1976 at the first Chic practice in a loft in New York.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Shadows of Knight to the disco kids.
I played it at the Roxy.
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 Cabaret Voltaire. All the underground hits.
All Eve St. Jones tracks. I heard you have a vinyl of every Shuggie Otis 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 '80s cut and another box set from the '80s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your güiro and bought an organ.
I hear that you and your band have sold your organ and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Goldenarms,
Maurizio,
Blake Baxter,
Bill Near,
Idris Muhammad,
The Names,
Visage,
X-102,
Lou Reed,
Faust,
The Smoke,
Susan Cadogan,
Nation of Ulysses,
Arthur Verocai,
Loose Ends,
Major Organ And The Adding Machine,
Brick,
a-ha,
8 Eyed Spy,
Absolute Body Control,
Charles Mingus,
Patti Smith,
Camouflage,
Jacques Brel,
Man Parrish,
These Immortal Souls,
Deutsch Amerikanische Freundschaft,
Donald Byrd,
Soul II Soul,
Adolescents,
Spandau Ballet,
Subhumans,
The Wake,
Fela Kuti,
Scan 7,
Aswad,
Sound Behaviour,
Symarip,
Grauzone,
The Blues Magoos,
Ice-T,
Tres Demented,
Ash Ra Tempel,
DNA,
Bizarre Inc.,
Red Lorry Yellow Lorry,
Ohio Players,
Joe Smooth,
Jacob Miller,
The Men They Couldn't Hang,
Sunsets and Hearts,
Cabaret Voltaire,
Prince Buster,
Jeff Mills,
Rekid,
Minnie Riperton,
Godley & Creme,
Index,
Sticky Fingaz feat. Raekwon,
The Victims,
Yusef Lateef, Yusef Lateef, Yusef Lateef, Yusef Lateef.
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.