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 Ghana and from Lille.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Columbus and Lagos.
I'm losing my edge to the art-school Edmonton 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Ultra Naté to the electroclash 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 Underground Resistance. All the underground hits.
All Sixth Finger tracks. I heard you have a vinyl of every Blancmange record on German import.
I heard that you have a white label of every seminal jazz 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 a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your oboe and bought a 808.
I hear that you and your band have sold your 808 and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kayak,
Cymande,
Ponytail,
John Lydon,
The Neon Judgement,
It's A Beautiful Day,
James White and The Blacks,
Das Ding,
Soulsonic Force,
The Busters,
Red Lorry Yellow Lorry,
the Association,
Matthew Bourne,
Cluster,
Lebanon Hanover,
Infiniti,
Skarface,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Kango’s Stein Massive,
Gregory Isaacs,
Electric Prunes,
Junior Murvin,
Camouflage,
Brick,
Gian Franco Pienzio,
Joyce Sims,
AZ,
Gong,
F. McDonald,
Khruangbin,
Parry Music,
8 Eyed Spy,
Minnie Riperton,
DJ Style,
Lakeside,
Sister Nancy,
Symarip,
Aloha Tigers,
Pussy Galore,
Urselle,
Peter & Gordon,
Cheater Slicks,
Jeff Mills,
DeepChord presents Echospace,
Motorama,
Iggy Pop,
Dennis Brown,
Pulsallama,
T.S.O.L.,
X-Ray Spex,
Idris Muhammad,
Godley & Creme,
Lou Reed & Metallica,
Scratch Acid,
James Chance & The Contortions,
Bauhaus,
A Certain Ratio,
The Electric Prunes,
Thee Headcoats,
Althea and Donna,
The Blackbyrds,
The Pop Group,
The Human League,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.