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 Iran and from Cairo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Johannesburg.
I'm losing my edge to the art-school Accra 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 sounds with much patience.
I was there when Holger Czukay 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 Joe Smooth 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 David Axelrod. All the underground hits.
All Frankie Knuckles tracks. I heard you have a vinyl of every Toni Rubio 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 '50s cut and another box set from the '90s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a JFA record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blackbyrds,
Todd Rundgren,
Aaron Thompson,
The Residents,
Bill Wells,
Icehouse,
Bob Dylan,
Basic Channel,
The Gap Band,
Lou Reed & Metallica,
Rowland S Howard / Lydia Lunch,
Man Parrish,
Brand Nubian,
the Soft Cell,
Deutsch Amerikanische Freundschaft,
Funkadelic,
The Chocolate Watch Band,
Louis and Bebe Barron,
Minor Threat,
Unwound,
The United States of America,
Fela Kuti,
Lalo Schifrin,
Section 25,
Severed Heads,
The Slackers,
Moby Grape,
Jeff Mills,
Deepchord,
Alphaville,
Arab on Radar,
Aswad,
Donald Byrd,
Jeru the Damaja,
Lou Christie,
Scientists,
Radio Birdman,
Can,
Au Pairs,
Patti Smith,
Gil Scott-Heron and Jamie xx,
Juan Atkins,
Junior Murvin,
Radiohead,
Joe Finger,
Yazoo,
Technova,
The Smiths,
Gil Scott-Heron & Brian Jackson,
ABBA,
Grandmaster Flash,
Marcia Griffiths,
Zapp,
Michelle Simonal,
Gastr Del Sol,
Radiopuhelimet,
Kaleidoscope,
The New Christs,
Unrelated Segments,
Tom Boy,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.