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 Belarus and from London.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1975.
I'm losing my edge.
To all the kids in London and New York.
I'm losing my edge to the art-school Toronto 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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin 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 Vaughan Mason & Crew to the rap kids.
I played it at the 40 Watt.
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 Ken Boothe. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every Sonny Sharrock record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
Bob Dylan,
B.T. Express,
Mars,
The Moody Blues,
The Doors,
Kool G Rap & DJ Polo,
Bauhaus,
the Human League,
Kenny Larkin,
Slave,
The Remains,
The Modern Lovers,
The Toasters,
New Order,
La Düsseldorf,
X-Ray Spex,
Visionaries,LMNO, T- Love & Iriscience,
Grauzone,
Junior Murvin,
Sight & Sound,
Accadde A,
Cluster,
OOIOO,
Mandrill,
Siglo XX,
Pere Ubu,
Bootsy Collins,
Con Funk Shun,
Pet Shop Boys,
Fugazi,
Theoretical Girls,
London Community Gospel Choir,
Justin Hinds & The Dominoes,
The Skatalites,
Brand Nubian,
Bobby Hutcherson,
Jeru the Damaja,
DeepChord presents Echospace,
The Victims,
Altered Images,
Terrestrial Tones,
Donald Byrd,
Ultramagnetic MC's,
Sandy B,
Stiv Bators,
Robert Görl,
John Foxx,
Hashim,
Jeff Mills,
Gil Scott-Heron & Brian Jackson,
Derrick Morgan,
Orchestral Manoeuvres in the Dark,
Joensuu 1685,
Yellowson,
Barclay James Harvest,
The Barracudas,
E-Dancer,
Zapp,
Erykah Badu,
Oppenheimer Analysis,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.