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 Czech Republic and from Edmonton.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1978.
I'm losing my edge.
To all the kids in Cairo and Mumbai.
I'm losing my edge to the art-school Hong Kong 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the 808 sounds with much patience.
I was there when Donald Fagen 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 Judy Mowatt to the electroclash 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 The Star Department. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every Icehouse 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
Eric Copeland,
The Kinks,
FM Einheit,
Notorious Big And Bone Thugs,
A Certain Ratio,
Brass Construction,
The Standells,
Tomorrow,
Teenage Jesus and the Jerks,
L. Decosne,
The Leaves,
Super Lover Cee & Casanova Rud,
Slick Rick,
Pussy Galore,
Cabaret Voltaire,
Circle Jerks,
Dennis Brown,
Oneida,
Pulsallama,
Half Japanese,
Q65,
Delon & Dalcan,
Ohio Players,
Outsiders,
Soft Cell,
Drive Like Jehu,
The Neon Judgement,
Jesper Dahlbäck,
Janne Schatter,
Los Fastidios,
The Wake,
Rod Modell,
Jacob Miller,
The Motions,
Sexual Harrassment,
Derrick Morgan,
Massinfluence,
Icehouse,
Grandmaster Flash and the Furious Five,
Sandy B,
Man Parrish,
Marine Girls,
The American Breed,
the Bar-Kays,
Reagan Youth,
Drexciya,
Khruangbin,
Piero Umiliani,
DeepChord presents Echospace,
Lakeside,
Trumans Water,
The Monks,
Stetsasonic,
New Order,
Strawberry Alarm Clock,
Pole,
Tubeway Army,
Gang Green,
Quando Quango,
Ronan, Ronan, Ronan, Ronan.
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.