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 Cyprus and from Manila.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1972.
I'm losing my edge.
To all the kids in Paris and Johannesburg.
I'm losing my edge to the art-school Tehran 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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer 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 Wasted Youth to the rap kids.
I played it at the Crocodile.
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 Tropical Tobacco. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every Fad Gadget record on German import.
I heard that you have a white label of every seminal electroclash 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 harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Peter Gordon & Love of Life Orchestra,
Nas,
Toni Rubio,
This Heat,
Mandrill,
Liaisons Dangereuses,
Pantytec,
Iggy Pop,
Gichy Dan,
Eli Mardock,
Mo-Dettes,
Underground Resistance,
Camberwell Now,
Rod Modell,
Trumans Water,
Flamin' Groovies,
Reagan Youth,
The Fugs,
Moebius,
Supertramp,
Sandy B,
John Holt,
The Young Rascals,
Funkadelic,
Ash Ra Tempel,
Bobbi Humphrey,
Andrew Ashong & Theo Parrish,
Art Ensemble Of Chicago,
Television Personalities,
Bluetip,
Urselle,
Eric Copeland,
Dual Sessions,
Yusef Lateef,
Terrestrial Tones,
Chrome,
Los Fastidios,
Morten Harket,
The Gap Band,
Roy Ayers Ubiquity,
The Mighty Diamonds,
The Smiths,
Vladislav Delay,
Soulsonic Force,
Curtis Mayfield,
John Lydon,
MDC,
kango's stein massive,
Marmalade,
Crash Course in Science,
Zero Boys,
Sister Nancy,
Organ,
Swell Maps,
Nation of Ulysses,
Brick,
Roxy Music,
Carl Craig,
Nik Kershaw,
The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band.
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.