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 Mexico and from Winnipeg.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1962 to 1979.
I'm losing my edge.
To all the kids in Toronto and Copenhagen.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator 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 The Gladiators to the crunk kids.
I played it at the Hacienda.
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 Marcia Griffiths. All the underground hits.
All Gabor Szabo tracks. I heard you have a vinyl of every Los Fastidios record on German import.
I heard that you have a white label of every seminal grime 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 a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your clarinet and bought an organ.
I hear that you and your band have sold your organ and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
Marmalade,
Major Organ And The Adding Machine,
Bobby Byrd,
Clear Light,
Chris & Cosey,
Mission of Burma,
Bad Manners,
The Associates,
Pantytec,
Ludus,
Matthew Bourne,
Second Layer,
The Motions,
Gary Puckett & The Union Gap,
ABC,
Ken Boothe,
Qualms,
Country Joe & The Fish,
The Slackers,
Schoolly D,
Desert Stars,
Blake Baxter,
Max Romeo,
Vainqueur,
The Red Krayola,
The Mighty Diamonds,
Hasil Adkins,
Oblivians,
Manfred Mann's Earth Band,
Sixth Finger,
Avey Tare,
Sonny Sharrock,
Gichy Dan,
Rapeman,
Ash Ra Tempel,
Frankie Knuckles,
Ohio Players,
Visage,
the Human League,
Cymande,
John Holt,
Bauhaus,
Faraquet,
Mo-Dettes,
Rod Modell,
cv313,
Robert Görl,
Popol Vuh,
The Grass Roots,
Suicide,
Section 25,
Harpers Bizarre,
Ralphi Rosario,
Fugazi,
H. Thieme,
F. McDonald,
The Monks,
Angry Samoans,
Eve St. Jones,
Au Pairs,
Skriet,
Mad Mike,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.