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 Cape Verde and from Edmonton.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Jakarta.
I'm losing my edge to the art-school Bremen 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator 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 Urselle to the funk 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 Zero Boys. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every Man Parrish record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
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 cv313 record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Pulsallama,
R.M.O.,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Stooges,
Siouxsie and the Banshees,
Ultimate Spinach,
Steve Hackett,
Can,
Ornette Coleman,
Bizarre Inc.,
The J.B.'s,
The Music Machine,
Gerry Rafferty,
cv313,
The Evens,
Visage,
The United States of America,
David Bowie,
Sarah Menescal,
Albert Ayler,
Sugar Minott,
Roy Ayers,
The Monks,
Lou Christie,
Chrome,
Groovy Waters,
T.S.O.L.,
Joe Smooth,
The Gories,
Kings Of Tomorrow,
Radiopuhelimet,
X-101,
Gil Scott Heron,
Marine Girls,
Roxy Music,
Malaria!,
Technova,
Pantytec,
Radiohead,
Pantaleimon,
World's Most,
Matthew Bourne,
Jeff Mills,
Sparks,
Scientists,
Soft Cell,
Monks,
Cluster,
Bill Near,
Nico,
Lalann,
The Leaves,
Terry Callier,
Wighnomy Brothers & Robag Wruhme,
Kool G Rap & DJ Polo,
The Techniques,
Mr. Review,
Agent Orange,
Cameo,
EPMD, EPMD, EPMD, EPMD.
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.