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 Rwanda and from Hong Kong.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1971.
I'm losing my edge.
To all the kids in Calgary and Manila.
I'm losing my edge to the art-school Johannesburg 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 1978 at the first Visage practice in a loft in London.
I was working on the linndrum 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 Eric B and Rakim to the crunk kids.
I played it at the Spitz.
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 Jesper Dahlback. All the underground hits.
All Silicon Teens tracks. I heard you have a vinyl of every F. McDonald record on German import.
I heard that you have a white label of every seminal disco 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 a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scan 7,
A Flock of Seagulls,
The Wake,
EPMD,
Scientists,
Rites of Spring,
Barry Ungar,
Mandrill,
Bootsy Collins,
The Dead C,
Stockholm Monsters,
London Community Gospel Choir,
Smog,
Camouflage,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Masters at Work,
Skriet,
the Bar-Kays,
Camberwell Now,
DNA,
Yaz,
Rosa Yemen,
John Lydon,
Alton Ellis,
Brothers Johnson,
Lou Christie,
Roger Hodgson,
Kerri Chandler,
Skaos,
Moss Icon,
Flamin' Groovies,
Stiv Bators,
Negative Approach,
Bobby Byrd,
Groovy Waters,
Louis and Bebe Barron,
Cymande,
Bobbi Humphrey,
Nico,
Ponytail,
Sun Ra Arkestra,
Wire,
Joy Division,
The Gun Club,
The Misunderstood,
Electric Prunes,
Mary Jane Girls,
Warren Ellis,
Inner City,
These Immortal Souls,
Glenn Branca,
The Grass Roots,
Pagans,
Kevin Saunderson,
June of 44,
Rufus Thomas,
Ohio Players,
kango's stein massive,
Dawn Penn,
Audionom,
Flash Fearless,
Kayak, Kayak, Kayak, Kayak.
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.