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 Tonga and from Glasgow.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Glasgow.
I'm losing my edge to the art-school Accra 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Nile Rodgers 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 Flash Fearless to the techno kids.
I played it at Trash.
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 Bar-Kays. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every Marmalade 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 a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Litter,
Nas,
Lebanon Hanover,
Grey Daturas,
June Days,
Vladislav Delay,
Deakin,
Porter Ricks,
Chrome,
Nick Fraelich,
The Slits,
Reagan Youth,
Essential Logic,
Jerry's Kids,
Robert Görl,
The Cowsills,
Gil Scott-Heron & Brian Jackson,
Audionom,
The Chocolate Watch Band,
Ohio Players,
Deutsch Amerikanische Freundschaft,
David Axelrod,
Gian Franco Pienzio,
The Wake,
The Buckinghams,
Jimmy McGriff,
The Modern Lovers,
Tres Demented,
Cymande,
The Blackbyrds,
The J.B.'s,
Talk Talk,
Bauhaus,
The Mojo Men,
Skriet,
AZ,
Newcleus,
The Peanut Butter Conspiracy,
This Heat,
The Motions,
Bill Wells,
Super Lover Cee & Casanova Rud,
Godley & Creme,
Bob Dylan,
The Sound,
Masters at Work,
Connie Case,
The Royal Family And The Poor,
London Community Gospel Choir,
Joy Division,
Yazoo,
Curtis Mayfield,
It's A Beautiful Day,
ABBA,
The Shadows of Knight,
Blancmange,
K-Klass,
A Flock of Seagulls,
The Raincoats,
Magma,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.