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 Liberia and from Portland.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Delhi and Lille.
I'm losing my edge to the art-school Mumbai 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 Five Americans to the dance 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 The Monks. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every E-Dancer record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
Talk Talk,
Lightning Bolt,
Barrington Levy,
John Coltrane,
Kevin Saunderson,
The Sound,
Todd Terry,
Lungfish,
H. Thieme,
The Moody Blues,
the Bar-Kays,
A Certain Ratio,
The Music Machine,
Procol Harum,
Scott Walker,
Pete Rock & C.L. Smooth,
The Vogues,
Ornette Coleman,
Art Ensemble Of Chicago,
Gang Starr,
Angels of Light & Akron/Family,
De La Soul & Jungle Brothers,
Accadde A,
June of 44,
Bobby Sherman,
Pagans,
Radiopuhelimet,
Larry & the Blue Notes,
Barclay James Harvest,
Nirvana,
The Five Americans,
Brand Nubian,
Marmalade,
The Stooges,
Jerry's Kids,
Livin' Joy,
Visage,
The Zeros,
Lizzy Mercier Descloux,
Warren Ellis,
the Soft Cell,
Half Japanese,
Kool G Rap & DJ Polo,
Motorama,
Model 500,
Sound Behaviour,
Roger Hodgson,
Japan,
cv313,
Gil Scott-Heron & Brian Jackson,
Massinfluence,
Essential Logic,
Vainqueur,
Oppenheimer Analysis,
Sexual Harrassment,
Marcia Griffiths,
Teenage Jesus and the Jerks,
Neil Young & Crazy Horse,
Au Pairs,
Heavy D & The Boyz,
Pole, Pole, Pole, Pole.
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.