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 Ethiopia and from Calgary.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Tokyo.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the harpsichord 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 The Offenders to the techno 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 Harpers Bizarre. All the underground hits.
All Kayak tracks. I heard you have a vinyl of every PIL 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 linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heaven 17,
The J.B.'s,
The Birthday Party,
Das Ding,
Dark Day,
Gang Gang Dance,
The Moody Blues,
Ronan,
Suburban Knight,
Graham Central Station,
Scion,
Absolute Body Control,
Maurizio,
Make Up,
Mantronix,
Lou Christie,
The Shadows of Knight,
X-101,
June Days,
Kas Product,
ABC,
Pulsallama,
Reuben Wilson,
Alphaville,
Second Layer,
Judy Mowatt,
Eurythmics,
Pantaleimon,
Captain Beefheart & His Magic Band,
Big Daddy Kane,
Von Mondo,
DJ Sneak,
Trumans Water,
Sly & The Family Stone,
The Beau Brummels,
Ralphi Rosario,
The Toasters,
Curtis Mayfield,
Major Organ And The Adding Machine,
Groovy Waters,
Girls At Our Best!,
Popol Vuh,
In Retrospect,
Jeru the Damaja,
Gian Franco Pienzio,
The Tremeloes,
The Vogues,
Rufus Thomas,
Stockholm Monsters,
Rhythm & Sound,
Morten Harket,
Matthew Halsall,
Parry Music,
Gang Starr,
The Fire Engines,
Crash Course in Science,
Barry Ungar,
Yusef Lateef,
Blossom Toes,
The Invisible,
Liaisons Dangereuses,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.