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 Bolivia and from Bremen.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Manchester.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
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 Quadrant to the jazz kids.
I played it at the Crocodile.
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 Andrew Hill. All the underground hits.
All Electric Prunes tracks. I heard you have a vinyl of every FM Einheit 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sällskapet record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
Young Marble Giants,
Aswad,
Flash Fearless,
Gregory Isaacs,
David McCallum,
The Fugs,
Fifty Foot Hose,
Bill Wells,
Lonnie Liston Smith,
Althea and Donna,
Colin Newman,
One Last Wish,
Ponytail,
X-Ray Spex,
Heaven 17,
Arthur Verocai,
Tommy Roe,
R.M.O.,
Thinking Fellers Union Local 282,
Underground Resistance,
The Pop Group,
Ohio Players,
DNA,
The Pretty Things,
The Standells,
The Real Kids,
Yusef Lateef,
Dawn Penn,
Electric Prunes,
Pet Shop Boys,
Procol Harum,
The Human League,
T.S.O.L.,
Harpers Bizarre,
D'Angelo,
Scion,
Wings,
Monks,
The Velvet Underground,
Marshall Jefferson,
The Modern Lovers,
Sound Behaviour,
June Days,
Organ,
June of 44,
Neil Young,
The Searchers,
The Stooges,
Sam Rivers,
Icehouse,
Crooked Eye,
Country Teasers,
Kaleidoscope,
Eve St. Jones,
Malaria!,
Minor Threat,
Scan 7,
Infiniti,
The Remains,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.