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 Zambia and from Philadelphia.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Salvador.
I'm losing my edge to the art-school Philadelphia 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 marimba 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 E-Dancer 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 Nik Kershaw. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every The Fall record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantaleimon,
Kango’s Stein Massive,
The Cure,
E-Dancer,
Agent Orange,
Shuggie Otis,
Banda Bassotti,
Black Sheep,
Supertramp,
Basic Channel,
Byron Stingily,
James Chance & The Contortions,
Ludus,
The Associates,
Sällskapet,
Jerry's Kids,
Lalo Schifrin,
Harry Pussy,
Captain Beefheart & His Magic Band,
Half Japanese,
Dual Sessions,
Visionaries,LMNO, T- Love & Iriscience,
Minutemen,
Jesper Dahlback,
Ken Boothe,
Soul II Soul,
Panda Bear,
X-101,
Joensuu 1685,
Rod Modell,
Trumans Water,
The Fuzztones,
Soulsonic Force,
Graham Central Station,
Selector Dub Narcotic,
Bluetip,
Hasil Adkins,
Avey Tare & Kría Brekkan,
Roxy Music,
Das Ding,
Sound Behaviour,
Brick,
Justin Hinds & The Dominoes,
The Toasters,
Mary Jane Girls,
Sugar Minott,
Masters at Work,
Nas,
Althea and Donna,
Rites of Spring,
Donald Byrd,
Electric Light Orchestra,
Minor Threat,
Marc Almond,
The Techniques,
Pantytec,
Lalann,
Con Funk Shun,
The Fortunes,
Sticky Fingaz feat. Raekwon,
Magazine,
Frankie Knuckles,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.