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 Antigua and from Taipei.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Shanghai.
I'm losing my edge to the art-school Lagos 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the oboe sounds with much patience.
I was there when David Bowie 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 Kerrie Biddell to the dance kids.
I played it at Cafe Wha.
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 Jacques Brel. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Unrelated Segments 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
Grauzone,
UT,
Cymande,
Crispian St. Peters,
Chris Corsano,
Motorama,
X-102,
Frankie Knuckles,
Terror Squad Feat. Camron,
The Techniques,
Guru Guru,
Gabor Szabo,
Procol Harum,
Brick,
Magazine,
The Pop Group,
Gil Scott-Heron & Brian Jackson,
Lizzy Mercier Descloux,
Isaac Hayes,
Radio Birdman,
The Names,
LL Cool J,
Juan Atkins,
48th St. Collective,
Depeche Mode,
The Gap Band,
Kaleidoscope,
Pierre Henry,
Selector Dub Narcotic,
Average White Band,
Vladislav Delay,
New York Dolls,
Basic Channel,
The Fugs,
Rakim,
Ultra Naté,
James Chance & The Contortions,
The American Breed,
Aswad,
Terrestrial Tones,
Newcleus,
Roy Ayers,
Supertramp,
Wasted Youth,
8 Eyed Spy,
Joy Division,
ABBA,
Fifty Foot Hose,
Aaron Thompson,
PIL,
Johnny Clarke,
John Lydon,
Duran Duran,
Siouxsie and the Banshees,
Zero Boys,
Schoolly D,
Flipper,
Lindisfarne,
Rekid, Rekid, Rekid, Rekid.
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.