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 Cambodia and from Copenhagen.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Lille and New York.
I'm losing my edge to the art-school Lille 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 synthesizer 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 Brothers Johnson to the grime 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 Orchestral Manoeuvres in the Dark. All the underground hits.
All MDC tracks. I heard you have a vinyl of every Country Teasers record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Gang Starr record.
I hear that you and your band have sold your theremin and bought a güiro.
I hear that you and your band have sold your güiro and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
Nick Fraelich,
Magazine,
The Pop Group,
Anthony Braxton,
CMW,
DNA,
Rowland S Howard / Lydia Lunch,
Electric Light Orchestra,
Harmonia,
Radio Birdman,
Desert Stars,
The Selecter,
Ultra Naté,
Masters at Work,
Albert Ayler,
Mark Hollis,
Rufus Thomas,
Surgeon,
The Offenders,
Black Moon,
Sparks,
La Düsseldorf,
The Human League,
Gary Puckett & The Union Gap,
Pole,
Underground Resistance,
Robert Görl,
Electric Prunes,
Metal Thangz,
Bootsy's Rubber Band,
Quando Quango,
Johnny Osbourne,
Notorious BIG live in Amsterdam,
Drexciya,
DJ Sneak,
Unwound,
Television,
Eden Ahbez,
Archie Shepp,
Spoonie Gee,
The Peanut Butter Conspiracy,
John Lydon,
Marc Romboy vs. Booka Shade,
Deakin,
Fela Kuti,
Ken Boothe,
Sexual Harrassment,
Neu!,
John Coltrane,
Aaron Thompson,
Idris Muhammad,
Kauko Röyhkä ja Narttu,
Stetsasonic,
Kaleidoscope,
Icehouse,
Trumans Water,
Andrew Hill,
U.S. Maple,
Freddie Wadling,
Ice-T,
Gabor Szabo,
Yaz, Yaz, Yaz, Yaz.
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.