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 Czech Republic and from Lille.
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 Sao Paulo and Houston.
I'm losing my edge to the art-school Columbus 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 World's Most to the disco 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 Isaac Hayes. All the underground hits.
All MDC tracks. I heard you have a vinyl of every UT record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nas,
Mars,
Sly & The Family Stone,
Average White Band,
Unrelated Segments,
The Stooges,
The Detroit Cobras,
Ludus,
The Star Department,
Mo-Dettes,
Lower 48,
Moebius,
Orchestral Manoeuvres in the Dark,
Crime,
The Peanut Butter Conspiracy,
The Tremeloes,
The Invisible,
PIL,
Kango’s Stein Massive,
The Count Five,
Man Parrish,
The Slackers,
Laurel Aitken,
Ajijia Myrayebe,
The Jesus and Mary Chain,
Country Teasers,
X-102,
Spandau Ballet,
X-Ray Spex,
Terry Callier,
Adolescents,
Skaos,
The United States of America,
Alton Ellis,
Amon Düül,
These Immortal Souls,
Con Funk Shun,
The Moleskins,
Frankie Knuckles,
The Gladiators,
Country Joe & The Fish,
Matthew Bourne,
kango's stein massive,
Jesper Dahlback,
Terrestrial Tones,
the Soft Cell,
Kerri Chandler,
Deakin,
Lucky Dragons,
Gian Franco Pienzio,
Marshall Jefferson,
The Modern Lovers,
Ultravox,
Clear Light,
Yazoo,
Yusef Lateef,
F. McDonald,
Bill Wells,
The Electric Prunes,
R.M.O.,
Thee Headcoats,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.