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 Vanuatu and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Philadelphia.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Neil Young to the funk kids.
I played it at Cafe Wha.
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 It's A Beautiful Day. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every Carl Craig record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
Television Personalities,
Camberwell Now,
Alton Ellis,
Sex Pistols,
Roy Ayers Ubiquity,
Pussy Galore,
The Smoke,
Sonny Sharrock,
Silicon Teens,
The Leaves,
Desert Stars,
T.S.O.L.,
The Music Machine,
Graham Central Station,
Oneida,
Anthony Braxton,
Main Source,
Oppenheimer Analysis,
The Slits,
Monks,
Moebius,
Röyhkä ja Rättö ja Lehtisalo,
CMW,
James Chance & The Contortions,
Essential Logic,
Drexciya,
Gil Scott Heron,
Warren Ellis,
Rekid,
The Vogues,
Ornette Coleman,
Dorothy Ashby,
Eric Dolphy,
Heaven 17,
Ajijia Myrayebe,
Lonnie Liston Smith,
Siouxsie and the Banshees,
The Walker Brothers,
Bob Dylan,
The J.B.'s,
Ronnie Foster,
The Monks,
Byron Stingily,
Buzzcocks,
Magazine,
The Pop Group,
Joyce Sims,
The Moody Blues,
Notorious BIG live in Amsterdam,
Johnny Osbourne,
Soft Machine,
Ludus,
The Victims,
Dawn Penn,
Scrapy,
DNA,
Kurtis Blow,
Jacques Brel,
Red Lorry Yellow Lorry,
Eyeless In Gaza,
D'Angelo, D'Angelo, D'Angelo, D'Angelo.
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.