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 Djibouti and from London.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Salvador and Glasgow.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the 808 sounds with much patience.
I was there when David Bowie 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 Bill Wells to the funk kids.
I played it at the Astoria.
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 Lou Christie. All the underground hits.
All the Normal tracks. I heard you have a vinyl of every Junior Murvin 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 '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
8 Eyed Spy,
The Fire Engines,
Sister Nancy,
R.M.O.,
Audionom,
Roxette,
Jesper Dahlbäck,
Aural Exciters,
Monolake,
Man Parrish,
Freddie Wadling,
Danielle Patucci,
Ornette Coleman,
Susan Cadogan,
Rapeman,
De La Soul & Jungle Brothers,
Eden Ahbez,
The Cowsills,
Rekid,
Jesper Dahlback,
The Shadows of Knight,
Spandau Ballet,
Magazine,
Trumans Water,
Joe Smooth,
Notorious Big And Bone Thugs,
Bauhaus,
X-102,
Marc Almond,
Hot Snakes,
Lalo Schifrin,
Althea and Donna,
Parry Music,
Tres Demented,
The Count Five,
Iggy Pop,
The Young Rascals,
Steve Hackett,
Flamin' Groovies,
ABC,
Todd Rundgren,
Organ,
Sun City Girls,
Super Lover Cee & Casanova Rud,
Oppenheimer Analysis,
Sällskapet,
The Dave Clark Five,
Quando Quango,
Pantaleimon,
MDC,
The Star Department,
Nik Kershaw,
Jeru the Damaja,
Minnie Riperton,
Joy Division,
Girls At Our Best!,
The Durutti Column,
Hasil Adkins,
The Vogues,
The Royal Family And The Poor,
The Seeds,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.