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 Albania and from Lille.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Salvador and Stockholm.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the marimba 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 Ken Boothe to the techno kids.
I played it at Cafe Wha.
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 Kerri Chandler. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam 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 '60s cut and another box set from the '80s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Flesh Eaters,
Roy Ayers Ubiquity,
Morten Harket,
Sexual Harrassment,
Frankie Knuckles,
Ash Ra Tempel,
Gang of Four,
The Raincoats,
the Human League,
F. McDonald,
Junior Murvin,
Au Pairs,
Fifty Foot Hose,
Unwound,
The Divine Comedy,
The Blues Magoos,
Yazoo,
The Moody Blues,
Adolescents,
Mo-Dettes,
Andrew Ashong & Theo Parrish,
Mark Hollis,
The Cowsills,
Curtis Mayfield,
Kevin Saunderson,
Saccharine Trust,
Soft Cell,
Nick Cave & The Bad Seeds,
The Doors,
Kenny Larkin,
The Monochrome Set,
Harmonia,
The Angels of Light,
The Star Department,
Heavy D & The Boyz,
Lakeside,
Joe Smooth,
Tears for Fears,
Accadde A,
Cymande,
Liliput,
Bush Tetras,
Lizzy Mercier Descloux,
The Litter,
Smog,
Ossler,
Kerri Chandler,
The Moleskins,
Excepter,
Hashim,
The Evens,
E-Dancer,
Rekid,
R.M.O.,
Oppenheimer Analysis,
The Smoke,
Gang Starr,
Cecil Taylor,
Sound Behaviour,
Bobby Sherman,
Barbara Tucker,
Marmalade,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.