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 Libya and from Jakarta.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1972.
I'm losing my edge.
To all the kids in Seoul and Houston.
I'm losing my edge to the art-school Salvador 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Sound Behaviour to the rock kids.
I played it at the Troubador.
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 Mr. Review. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every Symarip record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Judy Mowatt record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
Eli Mardock,
The Sound,
The West Coast Pop Art Experimental Band,
Kerrie Biddell,
The Black Dice,
Fugazi,
Black Moon,
a-ha,
Jeff Mills,
Slave,
The Dave Clark Five,
The Offenders,
the Fania All-Stars,
CMW,
Richard Hell and the Voidoids,
Rotary Connection,
The Five Americans,
Terrestrial Tones,
Liliput,
Sex Pistols,
Boogie Down Productions,
Glambeats Corp.,
Lightning Bolt,
Bauhaus,
Sixth Finger,
MC5,
Peter Gordon & Love of Life Orchestra,
Amazonics,
Kas Product,
Roy Ayers,
Todd Terry,
Fluxion,
Accadde A,
The Index,
Suicide,
World's Most,
Sandy B,
Fort Wilson Riot,
Bluetip,
Massinfluence,
Jeru the Damaja,
The Jesus and Mary Chain,
Blancmange,
Cybotron,
Gang Starr,
One Last Wish,
Yaz,
Japan,
Bootsy's Rubber Band,
Notorious Big And Bone Thugs,
Dual Sessions,
Sister Nancy,
Marc Almond,
Ultra Naté,
Ten City,
The Fortunes,
Arcadia,
Iggy Pop,
The Pretty Things,
Saccharine Trust,
Arthur Verocai,
Yellowson,
Yusef Lateef, Yusef Lateef, Yusef Lateef, Yusef Lateef.
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.