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 Gabon and from Columbus.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Bologna and Seoul.
I'm losing my edge to the art-school Houston 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Gil Scott Heron to the rock 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 Kango’s Stein Massive. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every Ultravox 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 '70s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Doors 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?
Vladislav Delay,
Be Bop Deluxe,
Jesper Dahlbäck,
Mantronix,
Eddi Front,
Shoche,
Hardrive,
Black Sheep,
Rosa Yemen,
JFA,
Mandrill,
Trumans Water,
The Index,
Fat Boys,
Archie Shepp,
London Community Gospel Choir,
Half Japanese,
Red Lorry Yellow Lorry,
U.S. Maple,
The Busters,
The Divine Comedy,
The Dirtbombs,
Ponytail,
Donny Hathaway,
T.S.O.L.,
Kas Product,
Connie Case,
Spoonie Gee,
Ultravox,
A Flock of Seagulls,
The Shadows of Knight,
Desert Stars,
De La Soul & Jungle Brothers,
The Victims,
Heavy D & The Boyz,
Moss Icon,
Neu!,
Soul II Soul,
Dennis Brown,
Röyhkä ja Rättö ja Lehtisalo,
K-Klass,
Los Fastidios,
Pagans,
Silicon Teens,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Pulsallama,
Unrelated Segments,
Bootsy's Rubber Band,
Chris Corsano,
Oneida,
Kurtis Blow,
Model 500,
The Names,
Yaz,
The Sisters of Mercy,
Hoover,
Pierre Henry,
New Order,
Camron Feat. Memphis Bleek And Beenie Seigel,
Anakelly, Anakelly, Anakelly, Anakelly.
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.