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 Mexico City.
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 1965 to 1975.
I'm losing my edge.
To all the kids in London and Manila.
I'm losing my edge to the art-school Portland 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the mellotron 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 Sight & Sound to the funk 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 Cheater Slicks. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every Oneida 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Newcleus record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
Selector Dub Narcotic,
Bizarre Inc.,
DJ Style,
Eddi Front,
Black Bananas,
Oblivians,
Dead Boys,
Country Teasers,
Toni Rubio,
Smog,
Wolf Eyes,
Aswad,
Silicon Teens,
Bootsy Collins,
Fela Kuti,
Tomorrow,
Underground Resistance,
the Bar-Kays,
Vladislav Delay,
Wighnomy Brothers & Robag Wruhme,
Procol Harum,
X-102,
Black Sheep,
Darondo,
Duran Duran,
June Days,
B.T. Express,
The Names,
Tubeway Army,
Ossler,
The Divine Comedy,
Q and Not U,
Guru Guru,
David McCallum,
Popol Vuh,
Joe Finger,
Chrome,
Saccharine Trust,
Lakeside,
Crispian St. Peters,
Eric B and Rakim,
Deakin,
Fort Wilson Riot,
Crooked Eye,
Yazoo,
Kerrie Biddell,
Nico,
Scratch Acid,
Altered Images,
cv313,
Boogie Down Productions,
The Mummies,
Nick Fraelich,
Sly & The Family Stone,
Fifty Foot Hose,
Zapp,
Soul II Soul,
Red Lorry Yellow Lorry,
Throbbing Gristle,
The Star Department,
Soft Machine,
Sugar Minott, Sugar Minott, Sugar Minott, Sugar Minott.
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.