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 South Sudan and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1971.
I'm losing my edge.
To all the kids in Columbus and Seoul.
I'm losing my edge to the art-school Spokane 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 Robert Palmer 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 Drexciya to the grime 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 Frankie Knuckles. All the underground hits.
All Dual Sessions tracks. I heard you have a vinyl of every The Remains record on German import.
I heard that you have a white label of every seminal electroclash 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 linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Notorious BIG live in Amsterdam,
Connie Case,
Agitation Free,
Black Sheep,
Fluxion,
The Standells,
Ralphi Rosario,
Roy Ayers Ubiquity,
Magazine,
Los Fastidios,
Sun Ra,
Rhythim Is Rhythim,
Bluetip,
8 Eyed Spy,
Circle Jerks,
Susan Cadogan,
Funkadelic,
Kerri Chandler,
Harry Pussy,
Talk Talk,
Robert Hood,
Slave,
Girls At Our Best!,
World's Most,
Amon Düül,
Gil Scott-Heron & Brian Jackson,
Franke,
The Music Machine,
Bill Near,
Crispy Ambulance,
The Gun Club,
the Fania All-Stars,
The Cure,
Funky Four + One,
Cabaret Voltaire,
These Immortal Souls,
Von Mondo,
Big Daddy Kane,
Lyres,
The Tremeloes,
Sister Nancy,
Can,
The Mighty Diamonds,
Guru Guru,
X-Ray Spex,
Fifty Foot Hose,
Accadde A,
Pet Shop Boys,
Brand Nubian,
Supertramp,
Leonard Cohen,
Roy Ayers,
The Fuzztones,
The Index,
Cybotron,
The Gladiators,
Amazonics,
A Certain Ratio,
Bill Wells,
The Happenings, The Happenings, The Happenings, The Happenings.
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.