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 Laos and from London.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and New York.
I'm losing my edge to the art-school Johannesburg 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 linndrum 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 Shuggie Otis to the crunk 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 Andrew Ashong & Theo Parrish. All the underground hits.
All Magma tracks. I heard you have a vinyl of every Morten Harket record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Soft Cell record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Art Ensemble Of Chicago,
Aural Exciters,
The Monks,
Peter and Kerry,
The Invisible,
Pantaleimon,
Jimmy McGriff,
Curtis Mayfield,
The Young Rascals,
The Stooges,
Q65,
Procol Harum,
The Electric Prunes,
Depeche Mode,
Dorothy Ashby,
D'Angelo,
Henry Cow,
Crime,
Jacob Miller,
Shuggie Otis,
Lebanon Hanover,
X-101,
Blake Baxter,
Tomorrow,
The Evens,
The Trojans,
Swans,
Ponytail,
Flipper,
Siglo XX,
Sun City Girls,
Avey Tare,
Bobby Byrd,
Gian Franco Pienzio,
Masters at Work,
Big Daddy Kane,
Arab on Radar,
Scion,
H. Thieme,
Roy Ayers Ubiquity,
The Peanut Butter Conspiracy,
Inner City,
Qualms,
John Foxx,
Kings Of Tomorrow,
June of 44,
The Cosmic Jokers,
The Flesh Eaters,
the Fania All-Stars,
One Last Wish,
Joy Division,
Model 500,
Toni Rubio,
The Blues Magoos,
OOIOO,
New Age Steppers,
Tubeway Army,
Matthew Halsall,
Super Lover Cee & Casanova Rud,
10cc,
Alphaville,
Eden Ahbez,
Pierre Henry,
The Saints, The Saints, The Saints, The Saints.
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.