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 United States and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Manila.
I'm losing my edge to the art-school Shanghai 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 theremin 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 James Chance & The Contortions to the funk 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 Sun Ra Arkestra. All the underground hits.
All Maurizio tracks. I heard you have a vinyl of every Hashim record on German import.
I heard that you have a white label of every seminal disco 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 spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Stiv Bators record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
Altered Images,
Nick Fraelich,
Soul II Soul,
Isaac Hayes,
Marc Romboy vs. Booka Shade,
Bauhaus,
Joe Finger,
Pete Rock & C.L. Smooth,
Yazoo,
Goldenarms,
Ornette Coleman,
La Düsseldorf,
The Chocolate Watch Band,
Minny Pops,
Lightning Bolt,
Heaven 17,
Ten City,
David Axelrod,
John Holt,
The Monks,
Blancmange,
James White and The Blacks,
The Golliwogs,
The Index,
Ossler,
Rhythim Is Rhythim,
Negative Approach,
Brick,
Wings,
Warren Ellis,
Ken Boothe,
The Dead C,
Urselle,
Pierre Henry,
Soft Machine,
Stetsasonic,
Howard Jones,
Tommy Roe,
Bobby Hutcherson,
Malaria!,
Pharaoh Sanders and the Fire Engines,
Electric Light Orchestra,
Sun Ra,
Q65,
Judy Mowatt,
10cc,
Masters at Work,
Nirvana,
Flamin' Groovies,
Sight & Sound,
Marshall Jefferson,
The Durutti Column,
Gil Scott-Heron & Brian Jackson,
Los Fastidios,
Half Japanese,
Aswad,
Mission of Burma,
Althea and Donna,
Silicon Teens,
De La Soul & Jungle Brothers,
DJ Style,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.