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 Kazakhstan and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1975.
I'm losing my edge.
To all the kids in Copenhagen and London.
I'm losing my edge to the art-school Lyon 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 Cecil Taylor to the techno kids.
I played it at Trash.
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 Saints. All the underground hits.
All Los Fastidios tracks. I heard you have a vinyl of every Bronski Beat 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 '90s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wasted Youth,
Niagra,
The Tremeloes,
It's A Beautiful Day,
Deepchord,
Visionaries,LMNO, T- Love & Iriscience,
Freddie Wadling,
Cymande,
Kas Product,
Dark Day,
Dual Sessions,
Qualms,
Gerry Rafferty,
Michelle Simonal,
Das Ding,
Jacques Brel,
Faraquet,
Warren Ellis,
Gil Scott Heron,
The Count Five,
Essential Logic,
Blancmange,
Magazine,
Tim Buckley,
Josef K,
Skaos,
One Last Wish,
The Gories,
The Blues Magoos,
Gian Franco Pienzio,
Bobby Womack,
Ultra Naté,
Jesper Dahlbäck,
The Buckinghams,
Dorothy Ashby,
Saccharine Trust,
Negative Approach,
Tears for Fears,
Beasts of Bourbon,
Roger Hodgson,
Rites of Spring,
Lalann,
Oneida,
New Age Steppers,
T. Rex,
June Days,
Average White Band,
48th St. Collective,
The Beau Brummels,
Todd Terry,
Whodini,
The Skatalites,
Masters at Work,
Lou Reed,
Minutemen,
The Litter,
Echo & the Bunnymen,
The Slits,
Peter and Kerry,
The Pop Group,
Yellowson,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.