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 Comoros and from Jakarta.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Taipei and Houston.
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 marimba 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 JFA to the electroclash kids.
I played it at the Spitz.
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 Bill Near. All the underground hits.
All Gang Gang Dance tracks. I heard you have a vinyl of every Kurtis Blow record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Masta Ace, Craig G, Kool G Rap, Big Daddy Kane record.
I hear that you and your band have sold your organ and bought a sitar.
I hear that you and your band have sold your sitar and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kayak,
Oppenheimer Analysis,
Index,
Traffic Nightmare,
Peter & Gordon,
Gil Scott Heron,
Jesper Dahlback,
T.S.O.L.,
Ralphi Rosario,
Cabaret Voltaire,
The Dead C,
Grey Daturas,
The Count Five,
the Association,
Lindisfarne,
Max Romeo,
Minnie Riperton,
Brand Nubian,
Alton Ellis,
Vaughan Mason & Crew,
H. Thieme,
8 Eyed Spy,
The Vogues,
Be Bop Deluxe,
Eddi Front,
The Sonics,
Crispian St. Peters,
Mark Hollis,
Yusef Lateef,
Sad Lovers and Giants,
Cluster,
Wally Richardson,
Bronski Beat,
Icehouse,
X-102,
Roxette,
48th St. Collective,
Gil Scott-Heron and Jamie xx,
Bill Wells,
Donny Hathaway,
Kas Product,
Slick Rick,
Pole,
Moby Grape,
KRS-One,
Grandmaster Flash and the Furious Five,
Wings,
Tears for Fears,
Robert Wyatt,
Ash Ra Tempel,
Loose Ends,
The Techniques,
Lafayette Afro Rock Band,
Shoche,
Al Stewart,
Steve Hackett,
John Holt,
Scrapy,
Goldenarms,
Neu!,
China Crisis,
The Fuzztones,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.