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 Ireland and from Cairo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Milan and Woodstock.
I'm losing my edge to the art-school London 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Little Man to the punk kids.
I played it at the Hacienda.
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 Kevin Saunderson. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every The Standells 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Angry Samoans record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
London Community Gospel Choir,
Nation of Ulysses,
Eyeless In Gaza,
Big Daddy Kane,
The Tremeloes,
World's Most,
48th St. Collective,
Ituana,
Bobby Womack,
Stiv Bators,
Whodini,
The Beau Brummels,
Easy Going,
Tres Demented,
Flamin' Groovies,
Amazonics,
James White and The Blacks,
Livin' Joy,
Minutemen,
the Germs,
Fugazi,
Pharoah Sanders,
Electric Prunes,
Jimmy McGriff,
Art Ensemble Of Chicago,
Alton Ellis,
Sun Ra Arkestra,
DeepChord presents Echospace,
The Barracudas,
The Doors,
Au Pairs,
Jeff Lynne,
Flash Fearless,
The Shadows of Knight,
Groovy Waters,
the Association,
The Flesh Eaters,
Terrestrial Tones,
The Black Dice,
the Slits,
Echospace,
F. McDonald,
Technova,
The Alarm Clocks,
The Fall,
Laurel Aitken,
Roxy Music,
The West Coast Pop Art Experimental Band,
Masters at Work,
Beasts of Bourbon,
Eve St. Jones,
Television Personalities,
Bootsy Collins,
Gabor Szabo,
Siouxsie and the Banshees,
Kauko Röyhkä ja Narttu,
The Mojo Men,
The Count Five,
Gastr Del Sol,
Yusef Lateef,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.