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 Armenia and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Manchester.
I'm losing my edge to the art-school Seoul 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 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 Vladislav Delay to the funk 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 Skarface. All the underground hits.
All Funky Four + One tracks. I heard you have a vinyl of every Reagan Youth 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heaven 17,
Interpol,
The Mojo Men,
Harry Pussy,
Röyhkä ja Rättö ja Lehtisalo,
Joy Division,
Ajijia Myrayebe,
Dave Gahan,
PIL,
Lou Christie,
Slave,
Quadrant,
The West Coast Pop Art Experimental Band,
Warren Ellis,
Simply Red,
Swell Maps,
Frankie Knuckles,
Junior Murvin,
Masters at Work,
Deutsch Amerikanische Freundschaft,
Don Cherry,
Howard Jones,
Slick Rick,
Jandek,
Barclay James Harvest,
JFA,
Notorious BIG live in Amsterdam,
The Electric Prunes,
Electric Prunes,
Donny Hathaway,
Nirvana,
Oppenheimer Analysis,
Deakin,
Angry Samoans,
Anthony Braxton,
Selector Dub Narcotic,
Marc Almond,
Ultramagnetic MC's,
Orchestral Manoeuvres in the Dark,
Average White Band,
The Divine Comedy,
Gregory Isaacs,
Fat Boys,
X-Ray Spex,
Tears for Fears,
Bobby Byrd,
Sixth Finger,
Terror Squad Feat. Camron,
Roxette,
Wire,
Nils Olav,
Bobby Sherman,
Alton Ellis,
Parry Music,
Ralphi Rosario,
Kool G Rap & DJ Polo,
Nico,
The New Christs,
The Barracudas,
Judy Mowatt,
Drexciya,
Archie Shepp,
Aswad,
Magma,
Sparks, Sparks, Sparks, Sparks.
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.