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 Kyrgyzstan and from Lille.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1961 to 1973.
I'm losing my edge.
To all the kids in Seoul and London.
I'm losing my edge to the art-school Beijing 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 rhodes 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 Derrick Morgan to the electroclash kids.
I played it at Trash.
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 Brothers Johnson. All the underground hits.
All Sound Behaviour tracks. I heard you have a vinyl of every Throbbing Gristle record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Barrington Levy,
Radio Birdman,
Jeff Mills,
Mandrill,
Kenny Larkin,
World's Most,
KRS-One,
Sound Behaviour,
a-ha,
Wally Richardson,
R.M.O.,
Ken Boothe,
Andrew Ashong & Theo Parrish,
La Düsseldorf,
The Fall,
Piero Umiliani,
The West Coast Pop Art Experimental Band,
The Fuzztones,
The Fire Engines,
Wolf Eyes,
Fugazi,
Throbbing Gristle,
E-Dancer,
Grandmaster Flash and the Furious Five,
Robert Wyatt,
Rhythim Is Rhythim,
Television Personalities,
The Modern Lovers,
Black Sheep,
Underground Resistance,
Royal Trux,
Mad Mike,
Kool Moe Dee,
Kango’s Stein Massive,
Rufus Thomas,
DJ Sneak,
Animal Collective,
The Cure,
Negative Approach,
The Royal Family And The Poor,
Justin Hinds & The Dominoes,
Flipper,
Sly & The Family Stone,
Technova,
Lindisfarne,
Talk Talk,
Agent Orange,
Wighnomy Brothers & Robag Wruhme,
Erykah Badu,
John Cale,
Bobby Hutcherson,
Kevin Saunderson,
The Flesh Eaters,
Kaleidoscope,
In Retrospect,
Swans,
The Star Department,
Faust,
Roy Ayers,
Surgeon,
Bronski Beat,
Lyres, Lyres, Lyres, Lyres.
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.