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 Mali and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1966 to 1979.
I'm losing my edge.
To all the kids in London and Sao Paulo.
I'm losing my edge to the art-school Bremen 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 rhodes 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 Blake Baxter 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 Dorothy Ashby. All the underground hits.
All Kool G Rap & DJ Polo tracks. I heard you have a vinyl of every The Black Dice 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 '80s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rekid record.
I hear that you and your band have sold your organ and bought a marimba.
I hear that you and your band have sold your marimba and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Durutti Column,
Susan Cadogan,
Rekid,
Massinfluence,
Lee Hazlewood,
JFA,
AZ,
Ash Ra Tempel,
Lyres,
Second Layer,
Audionom,
Fifty Foot Hose,
Magma,
Masters at Work,
Ohio Players,
Alison Limerick,
Inner City,
Electric Prunes,
John Cale,
Brass Construction,
Ponytail,
Amazonics,
Fort Wilson Riot,
Morten Harket,
Basic Channel,
Angels of Light & Akron/Family,
The Shadows of Knight,
Mary Jane Girls,
Thinking Fellers Union Local 282,
The Cure,
Barbara Tucker,
Minor Threat,
Bob Dylan,
Hot Snakes,
The Jesus and Mary Chain,
Bobbi Humphrey,
Gary Puckett & The Union Gap,
Isaac Hayes,
Tears for Fears,
Lalann,
Gang Green,
Delon & Dalcan,
Ken Boothe,
Thompson Twins,
The Buckinghams,
Grey Daturas,
Drive Like Jehu,
Dead Boys,
Johnny Clarke,
The Fuzztones,
Lakeside,
Pierre Henry,
Mark Hollis,
Röyhkä ja Rättö ja Lehtisalo,
The Angels of Light,
Archie Shepp,
Slave,
Swell Maps,
Bill Wells,
The Slackers,
Ossler,
Roy Ayers Ubiquity,
Nik Kershaw,
The Residents,
The Saints, The Saints, The Saints, The Saints.
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.