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 Namibia and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Bologna.
I'm losing my edge to the art-school Johannesburg 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 Josef K practice in a loft in Edinburgh.
I was working on the marimba 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 Andrew Hill to the disco 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 Soulsonic Force. All the underground hits.
All Ajijia Myrayebe tracks. I heard you have a vinyl of every New Order 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 mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
Pylon,
The United States of America,
Donald Byrd,
The Moleskins,
U.S. Maple,
Ponytail,
Public Image Ltd.,
Hoover,
Supertramp,
Mark Hollis,
Sound Behaviour,
Bizarre Inc.,
The Buckinghams,
Fela Kuti,
Rahsaan Roland Kirk,
Roy Ayers,
Ultra Naté,
Royal Trux,
Red Lorry Yellow Lorry,
Bob Dylan,
Toni Rubio,
The Gladiators,
Newcleus,
Goldenarms,
Sparks,
Delta 5,
China Crisis,
Jimmy McGriff,
Jawbox,
Marvin Gaye,
Technova,
Marshall Jefferson,
The Mighty Diamonds,
Babytalk,
The Index,
Boredoms,
The Sound,
The West Coast Pop Art Experimental Band,
Basic Channel,
Be Bop Deluxe,
Arthur Verocai,
Ornette Coleman,
Lebanon Hanover,
Gang Gang Dance,
The Count Five,
Heaven 17,
Public Enemy,
Fad Gadget,
Pet Shop Boys,
Kool Moe Dee,
The Fortunes,
Kool G Rap & DJ Polo,
Bad Manners,
Sonny Sharrock,
AZ,
Harpers Bizarre,
Joe Smooth,
Absolute Body Control,
James White and The Blacks,
Idris Muhammad,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.