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 Bahrain and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Bremen and Houston.
I'm losing my edge to the art-school Delhi 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 Matthew Bourne to the dance 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 Danielle Patucci. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Derrick Morgan 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 '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
Grandmaster Flash,
Red Lorry Yellow Lorry,
London Community Gospel Choir,
the Bar-Kays,
Gang Gang Dance,
Yaz,
Mo-Dettes,
Minny Pops,
Marc Almond,
Flipper,
The Names,
The Motions,
Mars,
Schoolly D,
Fat Boys,
Sexual Harrassment,
Nirvana,
Laurel Aitken,
The Divine Comedy,
Goldenarms,
The Music Machine,
Echo & the Bunnymen,
H. Thieme,
Zero Boys,
Sonic Youth,
Shuggie Otis,
Sandy B,
Thompson Twins,
The Techniques,
Roy Ayers,
the Soft Cell,
48th St. Collective,
Franke,
The Grass Roots,
Robert Hood,
Angels of Light & Akron/Family,
The Smoke,
The Misunderstood,
Eve St. Jones,
Art Ensemble Of Chicago,
Bobby Womack,
The Birthday Party,
Sam Rivers,
The J.B.'s,
Fifty Foot Hose,
The Modern Lovers,
10cc,
Niagra,
Joey Negro,
Guru Guru,
Pierre Henry,
Avey Tare's Slasher Flicks,
N.O.R.E. Featuring Pharrell,
Kevin Saunderson,
Gil Scott Heron,
The Beau Brummels,
The Blackbyrds,
Matthew Bourne,
Pantaleimon,
Audionom,
Banda Bassotti, Banda Bassotti, Banda Bassotti, Banda Bassotti.
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.