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 Guatemala and from Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1971.
I'm losing my edge.
To all the kids in Seoul and New York.
I'm losing my edge to the art-school Cairo 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the snare 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 The Fire Engines to the dance kids.
I played it at the Astoria.
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 Vaughan Mason & Crew. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Bobby Byrd 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Ajijia Myrayebe record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
Spoonie Gee,
John Holt,
Andrew Ashong & Theo Parrish,
Tears for Fears,
Tubeway Army,
OOIOO,
Glenn Branca,
Kurtis Blow,
Pantytec,
Donny Hathaway,
Echo & the Bunnymen,
Pierre Henry,
Ten City,
Joensuu 1685,
Liaisons Dangereuses,
Jacques Brel,
John Lydon,
Loose Ends,
48th St. Collective,
AZ,
Depeche Mode,
Rakim,
Talk Talk,
Tim Buckley,
The Detroit Cobras,
Carl Craig,
Pantaleimon,
The Gories,
the Slits,
Spandau Ballet,
Harmonia,
Kaleidoscope,
Matthew Halsall,
LL Cool J,
Colin Newman,
Girls At Our Best!,
Banda Bassotti,
Masters at Work,
Barry Ungar,
Angry Samoans,
Andrew Hill,
Fort Wilson Riot,
Cluster,
Stockholm Monsters,
Skriet,
The Peanut Butter Conspiracy,
Lizzy Mercier Descloux,
Metal Thangz,
Camouflage,
The Dirtbombs,
The Velvet Underground,
Gang Gang Dance,
DJ Sneak,
Juan Atkins,
Massinfluence,
the Fania All-Stars,
Byron Stingily,
Inner City,
Bang on a Can All-Stars,
Kool G Rap & DJ Polo,
Jerry's Kids, Jerry's Kids, Jerry's Kids, Jerry's Kids.
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.