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 Bhutan and from Beijing.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Houston and Stockholm.
I'm losing my edge to the art-school Lagos 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Kool Moe Dee to the disco kids.
I played it at the Roxy.
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 Barry Ungar tracks. I heard you have a vinyl of every John Holt 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 '80s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amazonics,
Juan Atkins,
Smog,
The Mojo Men,
The Names,
Lonnie Liston Smith,
PIL,
Blancmange,
Rapeman,
X-Ray Spex,
The J.B.'s,
Quando Quango,
Strawberry Alarm Clock,
Jacques Brel,
Sound Behaviour,
Stockholm Monsters,
The Mummies,
Glenn Branca,
Brand Nubian,
OOIOO,
Chrome,
Susan Cadogan,
Wighnomy Brothers & Robag Wruhme,
ABBA,
Colin Newman,
Depeche Mode,
Matthew Halsall,
Lee Hazlewood,
Avey Tare's Slasher Flicks,
Swans,
Ten City,
Roxette,
Dave Gahan,
U.S. Maple,
Throbbing Gristle,
Crispy Ambulance,
Eve St. Jones,
This Heat,
Yaz,
Orchestral Manoeuvres in the Dark,
Moby Grape,
The Toasters,
Janne Schatter,
The Sound,
Donald Byrd,
Josef K,
Lou Reed & Metallica,
Joyce Sims,
James Chance & The Contortions,
Black Bananas,
Dawn Penn,
Soul II Soul,
The Tremeloes,
Bobby Sherman,
The Busters,
Sarah Menescal,
The West Coast Pop Art Experimental Band,
Connie Case,
Kool Moe Dee,
Quadrant, Quadrant, Quadrant, Quadrant.
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.