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 Mongolia and from Lyon.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1966 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Tehran.
I'm losing my edge to the art-school Philadelphia 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 sitar 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 James Chance & The Contortions to the techno 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 Isaac Hayes. All the underground hits.
All Kaleidoscope tracks. I heard you have a vinyl of every China Crisis 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Morten Harket record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cramps,
Dual Sessions,
Lalann,
Bootsy's Rubber Band,
The Pretty Things,
Glambeats Corp.,
Marine Girls,
The Residents,
Bobby Sherman,
Amazonics,
Arab on Radar,
Lungfish,
Derrick Morgan,
Marshall Jefferson,
Vladislav Delay,
KRS-One,
Ultramagnetic MC's,
Scientists,
Orchestral Manoeuvres in the Dark,
Lou Christie,
Deadbeat,
Zapp,
Siglo XX,
Notorious BIG live in Amsterdam,
Second Layer,
The Gun Club,
8 Eyed Spy,
Laurel Aitken,
Simply Red,
Roxy Music,
Matthew Bourne,
La Düsseldorf,
Cabaret Voltaire,
Kauko Röyhkä ja Narttu,
Sällskapet,
Sound Behaviour,
Rahsaan Roland Kirk,
Janne Schatter,
Mars,
The Flesh Eaters,
Black Pus,
The Doobie Brothers,
The Sonics,
Ken Boothe,
Newcleus,
Thinking Fellers Union Local 282,
Grandmaster Flash,
Rosa Yemen,
Whodini,
Masters at Work,
Susan Cadogan,
Malaria!,
Jacob Miller,
D'Angelo,
The Vogues,
Arthur Verocai,
the Slits,
Underground Resistance,
Neu!,
Cluster, Cluster, Cluster, Cluster.
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.