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 Poland and from Bologna.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Lagos and Edmonton.
I'm losing my edge to the art-school Copenhagen 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 organ 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 Ken Boothe to the rap kids.
I played it at Trash.
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 Sandy B. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Marvin Gaye record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy's Rubber Band record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
The Busters,
8 Eyed Spy,
The Walker Brothers,
Henry Cow,
Stiv Bators,
Justin Hinds & The Dominoes,
The Sonics,
The Mojo Men,
Guru Guru,
Make Up,
The Men They Couldn't Hang,
Eve St. Jones,
Judy Mowatt,
Skriet,
Sugar Minott,
Simply Red,
U.S. Maple,
the Soft Cell,
The Residents,
The Doors,
PIL,
Audionom,
Ornette Coleman,
The Jesus and Mary Chain,
The Slackers,
T.S.O.L.,
Laurel Aitken,
Reagan Youth,
Robert Hood,
Mantronix,
Marshall Jefferson,
Peter Gordon & Love of Life Orchestra,
Lakeside,
Procol Harum,
Minutemen,
Barbara Tucker,
Magma,
Mary Jane Girls,
Kurtis Blow,
Parry Music,
Sister Nancy,
The Red Krayola,
The Index,
Funky Four + One,
Half Japanese,
DJ Style,
The Saints,
The Real Kids,
Kas Product,
Lindisfarne,
The Neon Judgement,
Anthony Braxton,
DJ Sneak,
The American Breed,
FM Einheit,
Piero Umiliani,
Eli Mardock,
Godley & Creme,
Maurizio,
Joy Division,
Stetsasonic,
The Gories,
The Vogues, The Vogues, The Vogues, The Vogues.
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.