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 Spain and from Spokane.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 Copenhagen and London.
I'm losing my edge to the art-school Bologna 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 808 sounds with much patience.
I was there when Robert Palmer 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 Spoonie Gee to the grime 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 Aswad. All the underground hits.
All The Pretty Things tracks. I heard you have a vinyl of every the Fania All-Stars 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 '60s cut and another box set from the '90s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
The Tremeloes,
Kurtis Blow,
The Doobie Brothers,
Fad Gadget,
The Fugs,
David Axelrod,
Lucky Dragons,
Magazine,
A Flock of Seagulls,
The Victims,
Letta Mbulu,
Talk Talk,
Tim Buckley,
Siglo XX,
Gil Scott-Heron and Jamie xx,
Boogie Down Productions,
Ajijia Myrayebe,
Soul Sonic Force,
Shuggie Otis,
Porter Ricks,
Erasure,
Joy Division,
Urselle,
Jesper Dahlback,
The Young Rascals,
Angry Samoans,
Amon Düül II,
The Smoke,
Gong,
The Sisters of Mercy,
Hashim,
Lebanon Hanover,
Second Layer,
Inner City,
Grandmaster Flash and the Furious Five,
The United States of America,
Dual Sessions,
Camron Feat. Memphis Bleek And Beenie Seigel,
Danielle Patucci,
Kevin Saunderson,
Von Mondo,
Strawberry Alarm Clock,
Scan 7,
ABBA,
8 Eyed Spy,
Ultramagnetic MC's,
Harpers Bizarre,
Index,
Nils Olav,
Motorama,
Larry & the Blue Notes,
cv313,
Little Man,
Soft Cell,
Interpol,
Jerry's Kids,
China Crisis,
Scratch Acid,
The Count Five,
Donald Byrd,
The Jesus and Mary Chain,
Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra.
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.