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 Kyrgyzstan and from Stockholm.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Seoul and Mumbai.
I'm losing my edge to the art-school Lyon 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 1976 at the first Chic practice in a loft in New York.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 Kevin Saunderson to the punk kids.
I played it at the Crocodile.
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 Moebius. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every Zero Boys 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Steve Hackett record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Basic Channel,
The Durutti Column,
Barbara Tucker,
Excepter,
Crooked Eye,
Nils Olav,
Duran Duran,
The Doors,
Ronnie Foster,
The Smoke,
Heaven 17,
Anakelly,
The Zeros,
Sight & Sound,
Marcia Griffiths,
AZ,
Oblivians,
Marmalade,
Michelle Simonal,
Chrome,
Robert Görl,
Nas,
Ten City,
Electric Light Orchestra,
John Foxx,
Be Bop Deluxe,
The Beau Brummels,
Big Daddy Kane,
Cheater Slicks,
Laurel Aitken,
London Community Gospel Choir,
Maurizio,
Zapp,
The Slackers,
Vladislav Delay,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Names,
a-ha,
Gil Scott Heron,
Rahsaan Roland Kirk,
Index,
Jesper Dahlback,
Moby Grape,
Toni Rubio,
U.S. Maple,
ABBA,
The Birthday Party,
Scrapy,
Barry Ungar,
The Martian,
FM Einheit,
Intrusion,
The Human League,
Lizzy Mercier Descloux,
Moebius,
Kaleidoscope,
Charles Mingus,
The Leaves,
Eli Mardock,
The Fuzztones,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.