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 Australia and from Hong Kong.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Tokyo.
I'm losing my edge to the art-school London 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 Josef K practice in a loft in Edinburgh.
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 Donny Hathaway to the funk 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 Eli Mardock. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every Lee Hazlewood 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Qualms,
The Misunderstood,
Sister Nancy,
The Gladiators,
Yellowson,
The Fuzztones,
Andrew Hill,
Flipper,
Angels of Light & Akron/Family,
Swell Maps,
Negative Approach,
Ituana,
Das Ding,
Wings,
The Human League,
The Fall,
Funkadelic,
Buzzcocks,
Deutsch Amerikanische Freundschaft,
Sun City Girls,
Visage,
Lalo Schifrin,
Sad Lovers and Giants,
Wire,
Sex Pistols,
Tom Boy,
The Standells,
Country Teasers,
The Dave Clark Five,
Kenny Larkin,
Lou Reed,
Lalann,
Deakin,
David Axelrod,
the Bar-Kays,
Dorothy Ashby,
Peter and Kerry,
Pylon,
Peter & Gordon,
Larry & the Blue Notes,
Parry Music,
Dawn Penn,
Ultimate Spinach,
The Monks,
The Flesh Eaters,
Andrew Ashong & Theo Parrish,
Sun Ra Arkestra,
Ultra Naté,
Tim Buckley,
Juan Atkins,
Ice-T,
DNA,
Mandrill,
Notorious BIG live in Amsterdam,
Jesper Dahlbäck,
Essential Logic,
Gregory Isaacs,
Bizarre Inc.,
The Kinks,
Excepter,
Liliput,
Sight & Sound,
Fort Wilson Riot,
De La Soul & Jungle Brothers, De La Soul & Jungle Brothers, De La Soul & Jungle Brothers, De La Soul & Jungle Brothers.
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.