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 Kyrgyzstan and from Manila.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Sao Paulo.
I'm losing my edge to the art-school Mumbai 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 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 Gang Starr to the grime kids.
I played it at CBGB's.
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 Visage. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every Sällskapet record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
It's A Beautiful Day,
The Divine Comedy,
Bizarre Inc.,
Richard Hell and the Voidoids,
Blossom Toes,
Isaac Hayes,
Gong,
Arthur Verocai,
Derrick Morgan,
D'Angelo,
Byron Stingily,
Wings,
Bang On A Can,
ABBA,
The Move,
Gary Puckett & The Union Gap,
Saccharine Trust,
Yazoo,
The Sisters of Mercy,
The Selecter,
Aural Exciters,
Agitation Free,
The Sonics,
Lucky Dragons,
Amon Düül II,
Matthew Bourne,
Black Sheep,
The Angels of Light,
Ash Ra Tempel,
London Community Gospel Choir,
Vaughan Mason & Crew,
the Fania All-Stars,
Andrew Ashong & Theo Parrish,
Kayak,
Black Flag,
Radiohead,
Al Stewart,
Derrick May,
Joe Smooth,
Max Romeo,
Grandmaster Flash and the Furious Five,
Avey Tare's Slasher Flicks,
Justin Hinds & The Dominoes,
Gastr Del Sol,
Newcleus,
Kas Product,
Public Enemy,
FM Einheit,
Radiopuhelimet,
Liliput,
Babytalk,
Eyeless In Gaza,
the Human League,
R.M.O.,
Lafayette Afro Rock Band,
Sunsets and Hearts,
Con Funk Shun,
Basic Channel,
Kool G Rap & DJ Polo,
Carl Craig, Carl Craig, Carl Craig, Carl Craig.
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.