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 Saudi Arabia and from Tehran.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Houston.
I'm losing my edge to the art-school Lagos 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Lyres to the disco kids.
I played it at the Spitz.
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 Ten City. All the underground hits.
All CMW tracks. I heard you have a vinyl of every KRS-One record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Lyres record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Massinfluence,
Agitation Free,
Hashim,
Faust,
Black Sheep,
La Düsseldorf,
Sparks,
Rekid,
Reuben Wilson,
Matthew Halsall,
June of 44,
The Misunderstood,
Angry Samoans,
Chris & Cosey,
The Walker Brothers,
Siouxsie and the Banshees,
The Pretty Things,
Howard Jones,
Judy Mowatt,
Ronnie Foster,
The Buckinghams,
Minnie Riperton,
In Retrospect,
Larry & the Blue Notes,
John Cale,
Tommy Roe,
Todd Rundgren,
Goldenarms,
Supertramp,
The Blues Magoos,
Idris Muhammad,
Marvin Gaye,
Bobby Byrd,
Man Eating Sloth,
Livin' Joy,
The Seeds,
Nick Fraelich,
Sad Lovers and Giants,
Jesper Dahlbäck,
Manfred Mann's Earth Band,
Crispian St. Peters,
Peter & Gordon,
Carl Craig,
Scott Walker + Sunn O))),
Qualms,
Ultra Naté,
Youth Brigade,
Crash Course in Science,
Harpers Bizarre,
Technova,
Susan Cadogan,
Todd Terry,
Nick Cave & The Bad Seeds,
Angels of Light & Akron/Family,
Robert Hood,
A Certain Ratio,
Wasted Youth,
Pagans,
The Motions,
Nas,
Eve St. Jones, Eve St. Jones, Eve St. Jones, Eve St. Jones.
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.