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 Canada and from Lyon.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Toronto.
I'm losing my edge to the art-school Bologna 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 808 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 Wire to the grime 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 Major Organ And The Adding Machine. All the underground hits.
All R.M.O. tracks. I heard you have a vinyl of every Laurel Aitken 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 '70s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a cv313 record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Scion,
Gil Scott-Heron & Brian Jackson,
The Residents,
John Holt,
Unrelated Segments,
The Cowsills,
KRS-One,
Janne Schatter,
Ituana,
Johnny Clarke,
Sun Ra Arkestra,
Young Marble Giants,
Wighnomy Brothers & Robag Wruhme,
The Searchers,
X-102,
Wings,
World's Most,
Boredoms,
The Misunderstood,
The Wake,
Kerrie Biddell,
David Axelrod,
Black Bananas,
Drive Like Jehu,
Crispy Ambulance,
Andrew Hill,
Television Personalities,
The Young Rascals,
The Durutti Column,
The Neon Judgement,
DNA,
Fort Wilson Riot,
The Grass Roots,
The Divine Comedy,
Gang Gang Dance,
The Fire Engines,
A Certain Ratio,
Japan,
Khruangbin,
Alice Coltrane,
Althea and Donna,
Boogie Down Productions,
Godley & Creme,
10cc,
Roger Hodgson,
Roxy Music,
The Mummies,
Fatback Band,
The Gladiators,
Icehouse,
Gary Puckett & The Union Gap,
These Immortal Souls,
Nas,
Fad Gadget,
Angels of Light & Akron/Family,
Bill Near,
The Blackbyrds,
Yusef Lateef,
Surgeon,
Ultra Naté,
Scratch Acid,
Das Ding,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.