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 Kyrgyzstan and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1968 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Glasgow.
I'm losing my edge to the art-school Bologna 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the theremin 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 Idris Muhammad to the grunge 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 Althea and Donna. All the underground hits.
All Yaz tracks. I heard you have a vinyl of every Ajijia Myrayebe 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 '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Q and Not U,
The Smiths,
Roger Hodgson,
DeepChord presents Echospace,
Marmalade,
Godley & Creme,
Sexual Harrassment,
10cc,
Unrelated Segments,
Simply Red,
Schoolly D,
Jerry Gold Smith,
Aswad,
John Coltrane,
Shoche,
Ultimate Spinach,
Bobby Hutcherson,
the Normal,
The Mighty Diamonds,
Louis and Bebe Barron,
Lalann,
Robert Görl,
DNA,
The Techniques,
Soul Sonic Force,
John Lydon,
Inner City,
Röyhkä ja Rättö ja Lehtisalo,
Camberwell Now,
Depeche Mode,
F. McDonald,
Crash Course in Science,
Icehouse,
De La Soul & Jungle Brothers,
Gong,
Wighnomy Brothers & Robag Wruhme,
Gang Starr,
Neu!,
World's Most,
Tropical Tobacco,
Zero Boys,
Quantec,
Michelle Simonal,
Vladislav Delay,
the Sonics,
The Sound,
Gil Scott Heron,
Wire,
Howard Jones,
Reagan Youth,
Franke,
Boogie Down Productions,
The Skatalites,
This Heat,
The American Breed,
The Modern Lovers,
Fela Kuti,
Minny Pops,
Magma,
Glambeats Corp.,
The Music Machine,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.