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 Belize and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Philadelphia and Bologna.
I'm losing my edge to the art-school Manila 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 chamberlin 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 a-ha to the grime kids.
I played it at the Troubador.
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 Minnie Riperton. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every 8 Eyed Spy 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Quadrant record.
I hear that you and your band have sold your linndrum and bought a güiro.
I hear that you and your band have sold your güiro and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Leaves,
Jacob Miller,
Fort Wilson Riot,
Notorious Big And Bone Thugs,
It's A Beautiful Day,
Zapp,
Black Sheep,
the Association,
Bobby Sherman,
Isaac Hayes,
Can,
Freddie Wadling,
Magma,
The Buckinghams,
John Holt,
Faraquet,
Erykah Badu,
Television,
Camouflage,
Young Marble Giants,
Pole,
Sound Behaviour,
Monks,
Buzzcocks,
Alton Ellis,
Rahsaan Roland Kirk,
Jerry's Kids,
Kerrie Biddell,
Index,
Thinking Fellers Union Local 282,
Masters at Work,
Max Romeo,
Jeff Mills,
Jimmy McGriff,
Soft Machine,
Alison Limerick,
Roy Ayers,
Spandau Ballet,
Quando Quango,
Man Parrish,
Nico,
Justin Hinds & The Dominoes,
The Dead C,
Sällskapet,
Essential Logic,
Rotary Connection,
Crime,
Maurizio,
Gong,
Lou Reed & John Cale,
Glambeats Corp.,
Ornette Coleman,
Colin Newman,
Pagans,
Eurythmics,
Pere Ubu,
Reuben Wilson,
Marine Girls,
Bobby Hutcherson,
The Chocolate Watch Band,
Pulsallama,
Tom Boy,
The Durutti Column, The Durutti Column, The Durutti Column, The Durutti Column.
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.