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 Palau and from Stockholm.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in Jakarta and Delhi.
I'm losing my edge to the art-school Mumbai 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 1978 at the first Visage practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Donald Fagen 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 Curtis Mayfield to the punk 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 New Age Steppers. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Pole record on German import.
I heard that you have a white label of every seminal rock 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 oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
cv313,
Sound Behaviour,
Aural Exciters,
Model 500,
Black Bananas,
Orchestral Manoeuvres in the Dark,
Radio Birdman,
Sexual Harrassment,
Main Source,
Skaos,
Aswad,
UT,
Dawn Penn,
Ronnie Foster,
K-Klass,
Carl Craig,
Marmalade,
Marvin Gaye,
U.S. Maple,
Duran Duran,
Hoover,
the Soft Cell,
Electric Prunes,
Throbbing Gristle,
Neil Young & Crazy Horse,
The Black Dice,
Brand Nubian,
Magazine,
Tom Boy,
Radiohead,
The Mummies,
Buzzcocks,
Matthew Halsall,
Magma,
Sun Ra Arkestra,
Camberwell Now,
Lou Reed,
KRS-One,
A Certain Ratio,
The Invisible,
Trumans Water,
Grey Daturas,
The Doors,
Mars,
the Swans,
Loose Ends,
Vaughan Mason & Crew,
The Gladiators,
Jeru the Damaja,
New Order,
Soul Sonic Force,
Susan Cadogan,
Flipper,
These Immortal Souls,
Ten City,
Junior Murvin,
Eve St. Jones,
Depeche Mode,
Todd Rundgren,
The Fire Engines,
Marine Girls,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.