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 Rwanda and from Beijing.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Lagos and Tokyo.
I'm losing my edge to the art-school Madrid 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 harpsichord sounds with much patience.
I was there when Donald Fagen 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 Deepchord to the jazz kids.
I played it at the 40 Watt.
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 Slick Rick. All the underground hits.
All JFA tracks. I heard you have a vinyl of every Bill Near 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Oblivians record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MC5,
Stetsasonic,
Scott Walker + Sunn O))),
Deakin,
In Retrospect,
Marshall Jefferson,
Amon Düül,
Reuben Wilson,
a-ha,
Angry Samoans,
Hashim,
Avey Tare,
Jerry Gold Smith,
Sister Nancy,
New Age Steppers,
Idris Muhammad,
Black Pus,
Agent Orange,
John Foxx,
Laurel Aitken,
Eric B and Rakim,
Pylon,
Kerrie Biddell,
London Community Gospel Choir,
Dr. Dre and Snoop Doggy Dog,
Groovy Waters,
Half Japanese,
Juan Atkins,
Kevin Saunderson,
X-101,
Gang Green,
Don Cherry,
Ossler,
Justin Hinds & The Dominoes,
Gang Starr,
Sunsets and Hearts,
MDC,
The Shadows of Knight,
Lyres,
Jesper Dahlbäck,
Tim Buckley,
Howard Jones,
Kool Moe Dee,
Oppenheimer Analysis,
Pierre Henry,
Animal Collective,
Scientists,
Marc Almond,
Visage,
Ultramagnetic MC's,
Gastr Del Sol,
the Bar-Kays,
Suburban Knight,
Anakelly,
Electric Light Orchestra,
Crash Course in Science,
Young Marble Giants,
The Litter,
Isaac Hayes,
OOIOO,
The Doors,
Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey.
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.