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 Taiwan and from Jakarta.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1970.
I'm losing my edge.
To all the kids in Manchester and London.
I'm losing my edge to the art-school Milan 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 Soft Boys practice in a loft in Cambridge.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 Arab on Radar to the funk 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 Kas Product. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every Ronnie Foster 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Vladislav Delay record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül,
Derrick May,
Dorothy Ashby,
Youth Brigade,
Bob Dylan,
The Slackers,
Bronski Beat,
Ralphi Rosario,
The Alarm Clocks,
Mandrill,
Ultimate Spinach,
Bill Wells,
Public Image Ltd.,
The Motions,
The Dead C,
Pet Shop Boys,
Sad Lovers and Giants,
Tears for Fears,
Althea and Donna,
Tommy Roe,
The Detroit Cobras,
Vainqueur,
June Days,
Y Pants,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Interpol,
The Evens,
the Bar-Kays,
Jeff Lynne,
Shoche,
Hashim,
Lungfish,
Graham Central Station,
The Victims,
Minor Threat,
Cal Tjader,
Make Up,
Lalann,
Cymande,
Roy Ayers,
Can,
Intrusion,
Unrelated Segments,
Flipper,
Jimmy McGriff,
Second Layer,
Lindisfarne,
Moby Grape,
Marvin Gaye,
Niagra,
Cecil Taylor,
Ornette Coleman,
Fear,
Aaron Thompson,
Slave,
Ajijia Myrayebe,
Kas Product,
Sam Rivers,
Warren Ellis,
K-Klass,
Lonnie Liston Smith,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.