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 Sudan and from Lagos.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Columbus and Manchester.
I'm losing my edge to the art-school Taipei 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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Tom Verlaine 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 Lungfish to the techno 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 Piero Umiliani. All the underground hits.
All The Gun Club tracks. I heard you have a vinyl of every Rhythm & Sound record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a DJ Style record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rosa Yemen,
Sarah Menescal,
Kool G Rap & DJ Polo,
Suburban Knight,
The Selecter,
Fort Wilson Riot,
Connie Case,
Pharoah Sanders,
Kings Of Tomorrow,
Model 500,
Maurizio,
Monks,
The Moleskins,
The Offenders,
Stiv Bators,
Bobbi Humphrey,
The Fire Engines,
The Wake,
The Moody Blues,
Ultravox,
James White and The Blacks,
Super Lover Cee & Casanova Rud,
The Names,
Das Ding,
Bill Near,
Heaven 17,
Moebius,
Mars,
Ituana,
Röyhkä ja Rättö ja Lehtisalo,
Isaac Hayes,
the Association,
Lebanon Hanover,
Bauhaus,
Soul II Soul,
Accadde A,
Organ,
Ultra Naté,
Angry Samoans,
One Last Wish,
the Fania All-Stars,
Juan Atkins,
Oblivians,
Matthew Halsall,
Robert Hood,
Tim Buckley,
Bill Wells,
Main Source,
Piero Umiliani,
Jimmy McGriff,
The Birthday Party,
Archie Shepp,
E-Dancer,
The Fall,
N.O.R.E. Featuring Pharrell,
Terry Callier,
Peter & Gordon,
Kenny Larkin,
Can,
Deakin,
The Techniques,
Shuggie Otis,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.