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 Cameroon and from Spokane.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Columbus and Bologna.
I'm losing my edge to the art-school Edmonton 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the oboe sounds with much patience.
I was there when David Bowie 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 A Certain Ratio to the crunk kids.
I played it at the Troubador.
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 Standells. All the underground hits.
All Sixth Finger tracks. I heard you have a vinyl of every Don Cherry 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Lonnie Liston Smith record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Harmonia,
Con Funk Shun,
Avey Tare's Slasher Flicks,
Bad Manners,
Fear,
Brand Nubian,
Pharoah Sanders,
Sparks,
Man Eating Sloth,
The Human League,
Sister Nancy,
Peter Gordon & Love of Life Orchestra,
Subhumans,
The Slackers,
The Blues Magoos,
Sugar Minott,
The Mummies,
Shoche,
Gil Scott-Heron & Brian Jackson,
Lebanon Hanover,
Pere Ubu,
Fifty Foot Hose,
Joe Smooth,
Wolf Eyes,
T.S.O.L.,
The J.B.'s,
Tears for Fears,
Howard Jones,
Severed Heads,
Surgeon,
Supertramp,
Andrew Hill,
Kerrie Biddell,
Stiv Bators,
The Trojans,
Japan,
Livin' Joy,
The Angels of Light,
Drexciya,
Wally Richardson,
R.M.O.,
Sexual Harrassment,
Drive Like Jehu,
Bill Near,
Chris & Cosey,
The Electric Prunes,
Stetsasonic,
The New Christs,
Deepchord,
Pierre Henry,
Marc Almond,
The Black Dice,
Carl Craig,
Zapp,
Aloha Tigers,
Sad Lovers and Giants,
Davy DMX,
Scion,
Silicon Teens,
Fatback Band,
Röyhkä ja Rättö ja Lehtisalo,
Essential Logic,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.