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 Libya and from Bremen.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Madrid and Columbus.
I'm losing my edge to the art-school Sao Paulo 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 synthesizer 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 Matthew Bourne to the rap kids.
I played it at the 40 Watt.
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 a-ha. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every The Slits record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Swell Maps record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dawn Penn,
Sun Ra,
The Slits,
Suburban Knight,
Rhythm & Sound,
Sonny Sharrock,
Tubeway Army,
The Names,
Eric Copeland,
Royal Trux,
Delon & Dalcan,
Tropical Tobacco,
A Certain Ratio,
Ornette Coleman,
Cabaret Voltaire,
Oppenheimer Analysis,
The Cosmic Jokers,
Colin Newman,
Marshall Jefferson,
Panda Bear,
Notorious Big And Bone Thugs,
Harmonia,
Henry Cow,
Grandmaster Flash,
Ultravox,
Blossom Toes,
Crash Course in Science,
kango's stein massive,
Underground Resistance,
Sexual Harrassment,
Rotary Connection,
Lucky Dragons,
Lee Hazlewood,
The Offenders,
The Mummies,
Bobbi Humphrey,
Prince Buster,
Bobby Hutcherson,
Connie Case,
Heavy D & The Boyz,
Big Daddy Kane,
10cc,
Orchestral Manoeuvres in the Dark,
Kango’s Stein Massive,
the Bar-Kays,
Angels of Light & Akron/Family,
Gil Scott-Heron & Brian Jackson,
The Skatalites,
Magazine,
Sugar Minott,
The Five Americans,
John Foxx,
Rites of Spring,
Delta 5,
Fela Kuti,
Echospace,
Pylon,
Sad Lovers and Giants,
EPMD,
Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx.
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.