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 Grenada and from Madrid.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1962 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Cairo.
I'm losing my edge to the art-school New York 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 Josef K practice in a loft in Edinburgh.
I was working on the arpeggiator 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 Dorothy Ashby to the electroclash 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 The Black Dice. All the underground hits.
All Vainqueur tracks. I heard you have a vinyl of every The Index record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Josef K record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
AZ,
Stockholm Monsters,
Parry Music,
The Mojo Men,
Ossler,
Warren Ellis,
Pete Rock & C.L. Smooth,
Röyhkä ja Rättö ja Lehtisalo,
Gary Puckett & The Union Gap,
Traffic Nightmare,
Subhumans,
Bauhaus,
David Axelrod,
Franke,
Basic Channel,
Frankie Knuckles,
Marc Romboy vs. Booka Shade,
Echo & the Bunnymen,
Hashim,
Gil Scott-Heron and Jamie xx,
Letta Mbulu,
Agent Orange,
Little Man,
A Flock of Seagulls,
Tropical Tobacco,
Godley & Creme,
The Five Americans,
Youth Brigade,
The Leaves,
In Retrospect,
Rod Modell,
Rhythim Is Rhythim,
Deepchord,
The Dave Clark Five,
Jerry's Kids,
World's Most,
Electric Light Orchestra,
Rosa Yemen,
Cecil Taylor,
Dark Day,
The Royal Family And The Poor,
One Last Wish,
Gichy Dan,
This Heat,
Minutemen,
Susan Cadogan,
Camouflage,
Talk Talk,
Arab on Radar,
Reuben Wilson,
Public Enemy,
Moby Grape,
The Buckinghams,
The Sound,
Marcia Griffiths,
F. McDonald,
Index,
Sad Lovers and Giants,
Tomorrow,
Deutsch Amerikanische Freundschaft,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.