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 Uruguay and from Tehran.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Lille and Stockholm.
I'm losing my edge to the art-school Salvador 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 1976 at the first Chic practice in a loft in New York.
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 Pantaleimon to the electroclash kids.
I played it at Cafe Wha.
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 Wally Richardson. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every Archie Shepp 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 '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Arcadia record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
8 Eyed Spy,
Mark Hollis,
Eve St. Jones,
Das Ding,
DJ Sneak,
Parry Music,
Kaleidoscope,
Sonic Youth,
Barclay James Harvest,
The Martian,
The Angels of Light,
Thee Headcoats,
Soft Machine,
John Lydon,
Sunsets and Hearts,
Super Lover Cee & Casanova Rud,
The Vogues,
Vainqueur,
This Heat,
Stockholm Monsters,
Danielle Patucci,
One Last Wish,
Lucky Dragons,
Y Pants,
Sister Nancy,
Matthew Halsall,
Toni Rubio,
The Black Dice,
Saccharine Trust,
Zapp,
Godley & Creme,
Echo & the Bunnymen,
David McCallum,
Kango’s Stein Massive,
Matthew Bourne,
Gil Scott Heron,
Janne Schatter,
Terrestrial Tones,
Electric Light Orchestra,
Bobbi Humphrey,
Neu!,
Oneida,
Todd Rundgren,
Mary Jane Girls,
Gil Scott-Heron and Jamie xx,
The Peanut Butter Conspiracy,
Deadbeat,
Quando Quango,
Eurythmics,
Traffic Nightmare,
Kevin Saunderson,
Bronski Beat,
The Seeds,
Ten City,
Au Pairs,
Lebanon Hanover,
Magma,
World's Most,
Cybotron,
Bill Near,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.