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 Senegal and from Manila.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Jakarta.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Kool Moe Dee to the electroclash kids.
I played it at the Roxy.
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 Subhumans. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every London Community Gospel Choir 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 '70s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Order,
Sexual Harrassment,
James White and The Blacks,
Pet Shop Boys,
Electric Light Orchestra,
Tomorrow,
The Gories,
Deutsch Amerikanische Freundschaft,
Symarip,
Yazoo,
The Skatalites,
Terry Callier,
La Düsseldorf,
Bill Wells,
Camberwell Now,
June of 44,
Rapeman,
Accadde A,
The West Coast Pop Art Experimental Band,
Notorious Big And Bone Thugs,
Tropical Tobacco,
Echospace,
Pole,
X-102,
Grandmaster Flash and the Furious Five,
The Motions,
Byron Stingily,
Patti Smith,
The Neon Judgement,
Gil Scott-Heron and Jamie xx,
Letta Mbulu,
Sad Lovers and Giants,
Sonny Sharrock,
Reagan Youth,
The Remains,
Blancmange,
Aural Exciters,
Procol Harum,
John Coltrane,
Steve Hackett,
Aloha Tigers,
The Durutti Column,
Flipper,
UT,
Henry Cow,
Kas Product,
Louis and Bebe Barron,
Rhythm & Sound,
The Tremeloes,
Arab on Radar,
Joyce Sims,
Black Moon,
8 Eyed Spy,
Hoover,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Gap Band,
Tim Buckley,
Al Stewart,
the Soft Cell,
The Pretty Things,
Gang of Four, Gang of Four, Gang of Four, Gang of Four.
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.