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 Egypt and from Bologna.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1972.
I'm losing my edge.
To all the kids in Lagos and Copenhagen.
I'm losing my edge to the art-school Shanghai 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 harpsichord sounds with much patience.
I was there when David Bowie 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 Slick Rick to the techno 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 Gil Scott Heron. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Lakeside record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a DJ Style record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Technova,
Au Pairs,
Judy Mowatt,
Skaos,
The Sound,
Trumans Water,
Tears for Fears,
Art Ensemble Of Chicago,
The Cure,
Popol Vuh,
Goldenarms,
Eden Ahbez,
Funkadelic,
Gil Scott-Heron and Jamie xx,
The Techniques,
Rapeman,
The Gap Band,
Fear,
Bob Dylan,
Fatback Band,
UT,
Hot Snakes,
The Zeros,
Ornette Coleman,
Eric B and Rakim,
Lakeside,
Peter & Gordon,
Skarface,
Porter Ricks,
Y Pants,
Moss Icon,
Thee Headcoats,
Franke,
Marvin Gaye,
Camron Feat. Jay Z And Juelz,
Eurythmics,
The Neon Judgement,
The Pretty Things,
The Motions,
Simply Red,
Fela Kuti,
The Move,
The Mighty Diamonds,
Scratch Acid,
Ken Boothe,
U.S. Maple,
The Blackbyrds,
Bobby Sherman,
DJ Sneak,
Deakin,
Vaughan Mason & Crew,
Pylon,
Soft Cell,
Terry Callier,
The Residents,
Frankie Knuckles,
Grandmaster Flash and the Furious Five,
The Trojans,
Idris Muhammad,
Carl Craig,
Lou Reed & John Cale,
Larry & the Blue Notes,
The Grass Roots,
Interpol, Interpol, Interpol, Interpol.
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.