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 Malawi 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 1961 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Tehran.
I'm losing my edge to the art-school Stockholm 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 spring reverb 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 Ajijia Myrayebe to the grunge kids.
I played it at the Hacienda.
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 Zapp. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a chamberlin 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 chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Isaac Hayes,
Q65,
Piero Umiliani,
Stockholm Monsters,
Funkadelic,
Essential Logic,
Glenn Branca,
Urselle,
Erykah Badu,
Scratch Acid,
Banda Bassotti,
Icehouse,
Rhythm & Sound,
Desert Stars,
New York Dolls,
Derrick Morgan,
Pharaoh Sanders and the Fire Engines,
Rekid,
Bill Near,
Moss Icon,
The Sisters of Mercy,
Accadde A,
Pharoah Sanders,
Selector Dub Narcotic,
Alison Limerick,
Soul II Soul,
Hoover,
Rod Modell,
Jandek,
Anthony Braxton,
Camouflage,
Donny Hathaway,
Ash Ra Tempel,
Interpol,
Susan Cadogan,
ABBA,
Sällskapet,
The Vogues,
Alton Ellis,
The Seeds,
The Martian,
Parry Music,
Andrew Ashong & Theo Parrish,
Sam Rivers,
Mars,
Joey Negro,
Swell Maps,
Television Personalities,
Sparks,
Yellowson,
June Days,
Siouxsie and the Banshees,
The Evens,
Archie Shepp,
Bluetip,
Chrome,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Mary Jane Girls,
Byron Stingily,
The Chocolate Watch Band,
Mr. Review, Mr. Review, Mr. Review, Mr. Review.
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.