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 Jordan and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Salvador and Bremen.
I'm losing my edge to the art-school Lille 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the synthesizer 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 DJ Sneak to the rock 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 T. Rex. All the underground hits.
All Soulsonic Force tracks. I heard you have a vinyl of every Moby Grape record on German import.
I heard that you have a white label of every seminal grime 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 an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Yusef Lateef record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalo Schifrin,
Black Bananas,
Yellowson,
Harpers Bizarre,
Can,
Fort Wilson Riot,
New York Dolls,
Gil Scott-Heron and Jamie xx,
Ornette Coleman,
Arab on Radar,
Alice Coltrane,
Albert Ayler,
Eyeless In Gaza,
Monolake,
CMW,
Sexual Harrassment,
The Cowsills,
Masters at Work,
Sonny Sharrock,
Aaron Thompson,
Gerry Rafferty,
Spandau Ballet,
Heavy D & The Boyz,
Symarip,
Index,
The Gap Band,
Little Man,
Thompson Twins,
Nation of Ulysses,
Gang Starr,
The United States of America,
Ituana,
Procol Harum,
X-102,
Johnny Osbourne,
The Young Rascals,
The Cramps,
Pantytec,
Marmalade,
Ronan,
Hasil Adkins,
Tropical Tobacco,
The Blackbyrds,
Tom Boy,
Vainqueur,
Simply Red,
Piero Umiliani,
James White and The Blacks,
Röyhkä ja Rättö ja Lehtisalo,
T.S.O.L.,
Lindisfarne,
MDC,
Joey Negro,
Be Bop Deluxe,
Matthew Halsall,
Saccharine Trust,
Aloha Tigers,
The Grass Roots,
Ice-T,
Kool G Rap & DJ Polo,
Ultra Naté,
the Association,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.