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 Chile and from Beijing.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Beijing.
I'm losing my edge to the art-school Sao Paulo 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 rhodes sounds with much patience.
I was there when Lou Reed 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 Hashim to the techno kids.
I played it at Trash.
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 Minnie Riperton. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every Urselle record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Angels of Light record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
The Modern Lovers,
Boogie Down Productions,
Mo-Dettes,
The Trojans,
Sonny Sharrock,
Ohio Players,
Fela Kuti,
Minny Pops,
Charles Mingus,
Colin Newman,
Electric Light Orchestra,
T. Rex,
Aswad,
Crash Course in Science,
Piero Umiliani,
The Gladiators,
David Axelrod,
Ornette Coleman,
Kaleidoscope,
The Fuzztones,
Reagan Youth,
Pylon,
Deutsch Amerikanische Freundschaft,
The Gap Band,
a-ha,
Con Funk Shun,
Accadde A,
The Walker Brothers,
Eli Mardock,
Ash Ra Tempel,
John Foxx,
Gary Puckett & The Union Gap,
Aloha Tigers,
Kayak,
A Flock of Seagulls,
Ten City,
Sister Nancy,
Robert Görl,
Blossom Toes,
Hardrive,
Freddie Wadling,
K-Klass,
Mary Jane Girls,
Bobby Byrd,
Kerrie Biddell,
Kenny Larkin,
Rosa Yemen,
Clear Light,
Scratch Acid,
Gang Starr,
Morten Harket,
Peter Gordon & Love of Life Orchestra,
Gichy Dan,
Crispy Ambulance,
Carl Craig,
Althea and Donna,
Gang Gang Dance,
Skriet,
Sound Behaviour,
Lou Reed & John Cale,
Skaos,
Subhumans,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.