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 Zimbabwe and from Glasgow.
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 1975.
I'm losing my edge.
To all the kids in Toronto and Madrid.
I'm losing my edge to the art-school Manchester 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 Zapp practice in a loft in Hamilton.
I was working on the rhodes 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 Eden Ahbez to the techno kids.
I played it at the Crocodile.
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 Trojans. All the underground hits.
All June of 44 tracks. I heard you have a vinyl of every Connie Case record on German import.
I heard that you have a white label of every seminal grime 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 a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
Sex Pistols,
Basic Channel,
Parry Music,
Vaughan Mason & Crew,
The Busters,
Kurtis Blow,
Traffic Nightmare,
Dorothy Ashby,
Bootsy Collins,
Scratch Acid,
Altered Images,
Jacques Brel,
Anthony Braxton,
Mantronix,
The Gap Band,
Kenny Larkin,
AZ,
Lafayette Afro Rock Band,
Eric Copeland,
Drexciya,
The Victims,
E-Dancer,
Ajijia Myrayebe,
Beasts of Bourbon,
Pharaoh Sanders and the Fire Engines,
The West Coast Pop Art Experimental Band,
Marine Girls,
Arcadia,
Steve Hackett,
Depeche Mode,
Judy Mowatt,
Bad Manners,
Au Pairs,
Michelle Simonal,
China Crisis,
Throbbing Gristle,
Graham Central Station,
Kings Of Tomorrow,
Surgeon,
Selector Dub Narcotic,
Agent Orange,
Heavy D & The Boyz,
Joyce Sims,
James White and The Blacks,
Althea and Donna,
New York Dolls,
The Selecter,
The Associates,
Urselle,
Jesper Dahlback,
Gil Scott-Heron and Jamie xx,
Arab on Radar,
Kerrie Biddell,
Alton Ellis,
Delon & Dalcan,
Franke,
Avey Tare & Kría Brekkan,
Ken Boothe,
Leonard Cohen,
The American Breed,
Goldenarms,
Letta Mbulu, Letta Mbulu, Letta Mbulu, Letta Mbulu.
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.