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 Vietnam and from Sao Paulo.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Lagos and Taipei.
I'm losing my edge to the art-school Seoul 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the harpsichord 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 Grauzone to the rap 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 Basic Channel. All the underground hits.
All Fad Gadget tracks. I heard you have a vinyl of every James White and The Blacks 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 '70s cut and another box set from the '80s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lightning Bolt,
K-Klass,
Cheater Slicks,
Jesper Dahlback,
Nick Fraelich,
Qualms,
Johnny Clarke,
Dual Sessions,
Loose Ends,
Rapeman,
Robert Görl,
The Neon Judgement,
Fear,
Bizarre Inc.,
Hot Snakes,
The Monks,
Anthony Braxton,
Aloha Tigers,
June of 44,
Jeru the Damaja,
Spandau Ballet,
Gang Gang Dance,
Liaisons Dangereuses,
Andrew Ashong & Theo Parrish,
Shuggie Otis,
Alton Ellis,
Bobby Sherman,
Theoretical Girls,
Red Lorry Yellow Lorry,
Toni Rubio,
Shoche,
Stockholm Monsters,
Deutsch Amerikanische Freundschaft,
De La Soul & Jungle Brothers,
Icehouse,
Lungfish,
A Flock of Seagulls,
Prince Buster,
Skaos,
New York Dolls,
Lalann,
Rekid,
kango's stein massive,
The Selecter,
Maleditus Sound,
Curtis Mayfield,
Outsiders,
The Modern Lovers,
Wasted Youth,
Alice Coltrane,
Jeff Lynne,
Brothers Johnson,
Jerry's Kids,
Bootsy Collins,
Blossom Toes,
Godley & Creme,
Kayak,
Albert Ayler,
Oneida,
Oppenheimer Analysis,
Gil Scott-Heron and Jamie xx,
Erasure,
FM Einheit, FM Einheit, FM Einheit, FM Einheit.
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.