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 Guinea-Bissau and from Lille.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Mumbai.
I'm losing my edge to the art-school Delhi 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 Human League practice in a loft in Sheffield.
I was working on the theremin 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 Gang Starr to the disco kids.
I played it at the Astoria.
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 The Dave Clark Five. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every The Grass Roots record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
Sonny Sharrock,
Icehouse,
Scott Walker,
JFA,
Neu!,
Big Daddy Kane,
Jimmy McGriff,
Girls At Our Best!,
Siouxsie and the Banshees,
The Dirtbombs,
The Moody Blues,
The Move,
Chris & Cosey,
Cluster,
Sexual Harrassment,
Vainqueur,
The Gap Band,
Sister Nancy,
The Count Five,
Kerrie Biddell,
Sly & The Family Stone,
U.S. Maple,
Sound Behaviour,
The Monochrome Set,
Leonard Cohen,
Johnny Osbourne,
Ultravox,
Eric B and Rakim,
Popol Vuh,
Marc Almond,
Soul Sonic Force,
Josef K,
Crispian St. Peters,
Delon & Dalcan,
Prince Buster,
Stereo Dub,
Marine Girls,
The Detroit Cobras,
Lou Christie,
Ronnie Foster,
Rod Modell,
Colin Newman,
Manfred Mann's Earth Band,
Angry Samoans,
the Normal,
Tubeway Army,
The New Christs,
Larry & the Blue Notes,
Silicon Teens,
the Bar-Kays,
Man Eating Sloth,
The Electric Prunes,
Ice-T,
The Litter,
Justin Hinds & The Dominoes,
London Community Gospel Choir,
Bush Tetras,
Japan,
The Sound,
Index,
It's A Beautiful Day,
Hardrive,
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.