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 the UAE and from Milan.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1970.
I'm losing my edge.
To all the kids in Lyon and Hong Kong.
I'm losing my edge to the art-school Johannesburg 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer 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 Major Organ And The Adding Machine to the disco 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 Pussy Galore. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every Eddi Front record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boz Scaggs,
Jeff Mills,
The United States of America,
The West Coast Pop Art Experimental Band,
Smog,
Liaisons Dangereuses,
Deadbeat,
Bad Manners,
Charles Mingus,
Gerry Rafferty,
Oppenheimer Analysis,
Gil Scott-Heron and Jamie xx,
The Invisible,
Franke,
Eddi Front,
Echo & the Bunnymen,
Main Source,
The Slits,
John Cale,
Major Organ And The Adding Machine,
Notorious BIG live in Amsterdam,
Excepter,
Surgeon,
Saccharine Trust,
Donald Byrd,
Connie Case,
a-ha,
The Last Poets,
Janne Schatter,
Deutsch Amerikanische Freundschaft,
Jesper Dahlback,
In Retrospect,
Cameo,
Crispy Ambulance,
These Immortal Souls,
Neil Young & Crazy Horse,
Ultra Naté,
Andrew Hill,
Zero Boys,
Delon & Dalcan,
Silicon Teens,
The Wake,
Johnny Clarke,
Bush Tetras,
Public Image Ltd.,
The Knickerbockers,
Be Bop Deluxe,
Strawberry Alarm Clock,
Lakeside,
Maleditus Sound,
The Durutti Column,
Grandmaster Flash and the Furious Five,
Bluetip,
Heavy D & The Boyz,
The Tremeloes,
R.M.O.,
The Shadows of Knight,
Juan Atkins,
John Coltrane,
Model 500, Model 500, Model 500, Model 500.
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.