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 Spain and from Milan.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Bologna.
I'm losing my edge to the art-school Spokane 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 Erasure to the crunk kids.
I played it at the Astoria.
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 Judy Mowatt. All the underground hits.
All Fort Wilson Riot tracks. I heard you have a vinyl of every Swell Maps 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 '70s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
Black Moon,
Wally Richardson,
U.S. Maple,
Hasil Adkins,
Gabor Szabo,
Scratch Acid,
Junior Murvin,
These Immortal Souls,
ABC,
The Gap Band,
Absolute Body Control,
Fad Gadget,
the Association,
Harmonia,
Johnny Osbourne,
Danielle Patucci,
The Durutti Column,
LL Cool J,
Oblivians,
Sällskapet,
kango's stein massive,
June Days,
B.T. Express,
Sun City Girls,
De La Soul & Jungle Brothers,
Marc Almond,
Bobby Sherman,
Underground Resistance,
The Offenders,
the Slits,
Godley & Creme,
Funkadelic,
Skarface,
Roy Ayers Ubiquity,
Avey Tare's Slasher Flicks,
Terrestrial Tones,
Fela Kuti,
Hashim,
It's A Beautiful Day,
Dead Boys,
The Grass Roots,
Harpers Bizarre,
Robert Wyatt,
Severed Heads,
Grey Daturas,
Infiniti,
This Heat,
Rosa Yemen,
Fugazi,
Drexciya,
Jesper Dahlbäck,
Trumans Water,
The Monochrome Set,
Television,
DJ Style,
Roy Ayers,
Nik Kershaw,
Ossler,
Red Lorry Yellow Lorry,
Joensuu 1685,
Bill Wells,
Siglo XX,
Cybotron, Cybotron, Cybotron, Cybotron.
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.