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 Tunisia and from Philadelphia.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Madrid and Lyon.
I'm losing my edge to the art-school Shanghai 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 1984 at the first Arcadia practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Holger Czukay 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 Dual Sessions to the grime kids.
I played it at the Hacienda.
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 Alton Ellis. All the underground hits.
All Accadde A tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gladiators,
A Flock of Seagulls,
Drexciya,
Kaleidoscope,
The Black Dice,
The Dead C,
DNA,
Manfred Mann's Earth Band,
Kayak,
The Golliwogs,
Funky Four + One,
Yaz,
cv313,
Neu!,
Al Stewart,
Kerri Chandler,
Black Bananas,
Wighnomy Brothers & Robag Wruhme,
Das Ding,
David McCallum,
The Toasters,
Jeru the Damaja,
Sandy B,
Oblivians,
Lightning Bolt,
Joey Negro,
Pete Rock & C.L. Smooth,
La Düsseldorf,
Cecil Taylor,
Ludus,
Scrapy,
Q65,
Johnny Clarke,
Bizarre Inc.,
Gary Puckett & The Union Gap,
New Age Steppers,
Chris Corsano,
Mad Mike,
Half Japanese,
Jerry's Kids,
X-102,
the Soft Cell,
Idris Muhammad,
Marshall Jefferson,
Larry & the Blue Notes,
Sad Lovers and Giants,
Qualms,
The Birthday Party,
Camron Feat. Memphis Bleek And Beenie Seigel,
Rosa Yemen,
Rapeman,
Jesper Dahlbäck,
Andrew Hill,
the Human League,
The Smiths,
Alphaville,
B.T. Express,
Pantaleimon,
John Foxx,
The Last Poets,
Bluetip, Bluetip, Bluetip, Bluetip.
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.