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 Malawi 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 1962 to 1974.
I'm losing my edge.
To all the kids in Paris and Tehran.
I'm losing my edge to the art-school Copenhagen 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 1984 at the first Arcadia practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 X-102 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 The Index. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Harry Pussy record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerrie Biddell,
Sixth Finger,
Ash Ra Tempel,
Sonic Youth,
Manfred Mann's Earth Band,
Jesper Dahlbäck,
David McCallum,
D'Angelo,
Eyeless In Gaza,
The Dave Clark Five,
Sun Ra Arkestra,
Livin' Joy,
Sister Nancy,
Reagan Youth,
Kings Of Tomorrow,
The Move,
Juan Atkins,
DNA,
Marshall Jefferson,
Warren Ellis,
Bootsy's Rubber Band,
Dual Sessions,
Black Pus,
Mr. Review,
Jesper Dahlback,
Infiniti,
Sällskapet,
Lower 48,
Todd Rundgren,
DeepChord presents Echospace,
Echospace,
Henry Cow,
Whodini,
Hoover,
Hardrive,
FM Einheit,
The Slits,
London Community Gospel Choir,
The Black Dice,
Theoretical Girls,
Pierre Henry,
Mark Hollis,
Connie Case,
Vainqueur,
Grey Daturas,
Au Pairs,
The Five Americans,
Gichy Dan,
Lalann,
Derrick May,
Man Parrish,
Gregory Isaacs,
Camberwell Now,
Niagra,
Eric Dolphy,
The Vogues,
Mandrill,
Rapeman,
Rowland S Howard / Lydia Lunch,
The Pop Group,
John Lydon,
Nation of Ulysses,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.