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 Libya and from Columbus.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1970.
I'm losing my edge.
To all the kids in Milan and Tehran.
I'm losing my edge to the art-school Lyon 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord sounds with much patience.
I was there when Michael McDonald 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 Kurtis Blow to the crunk kids.
I played it at Cafe Wha.
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 Kerri Chandler. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Danielle Patucci record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delta 5,
Ludus,
Gregory Isaacs,
Mad Mike,
Kool G Rap & DJ Polo,
Alphaville,
Kango’s Stein Massive,
B.T. Express,
Television Personalities,
Todd Terry,
cv313,
Bobby Hutcherson,
Shoche,
Kerri Chandler,
Grandmaster Flash and the Furious Five,
China Crisis,
The Mighty Diamonds,
Bush Tetras,
Bobby Womack,
The Remains,
Procol Harum,
The Cosmic Jokers,
Hashim,
Reagan Youth,
Khruangbin,
Hoover,
Erasure,
Avey Tare's Slasher Flicks,
Pharaoh Sanders and the Fire Engines,
The Monks,
Thinking Fellers Union Local 282,
Dave Gahan,
Mantronix,
Althea and Donna,
Lizzy Mercier Descloux,
The Cramps,
Pagans,
The United States of America,
Angels of Light & Akron/Family,
Lungfish,
Livin' Joy,
Skaos,
Anakelly,
Aloha Tigers,
Kerrie Biddell,
Quantec,
Sexual Harrassment,
Sly & The Family Stone,
Janne Schatter,
Buzzcocks,
The Doors,
Bob Dylan,
Theoretical Girls,
Electric Prunes,
Be Bop Deluxe,
Freddie Wadling,
The Red Krayola,
Graham Central Station,
Wolf Eyes,
The Dead C,
The Fire Engines,
The Index,
Pantytec, Pantytec, Pantytec, Pantytec.
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.