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 Morocco and from Columbus.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Portland and Houston.
I'm losing my edge to the art-school Paris 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 1978 at the first Visage practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 Wally Richardson to the techno kids.
I played it at Cafe Wha.
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 Ludus. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every Roy Ayers 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Little Man record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Beasts of Bourbon,
Susan Cadogan,
Nik Kershaw,
Marmalade,
Zapp,
Sällskapet,
OOIOO,
The Real Kids,
Sixth Finger,
Hot Snakes,
Crispian St. Peters,
Girls At Our Best!,
Nation of Ulysses,
Colin Newman,
JFA,
The Fall,
Selector Dub Narcotic,
Von Mondo,
Eric B and Rakim,
Roy Ayers Ubiquity,
The Mummies,
The J.B.'s,
Man Eating Sloth,
The Blackbyrds,
The Gun Club,
Deadbeat,
Gang of Four,
Cluster,
John Coltrane,
Matthew Halsall,
Shoche,
Jimmy McGriff,
Lou Reed,
New Age Steppers,
Second Layer,
Qualms,
Camberwell Now,
Silicon Teens,
Rhythim Is Rhythim,
Radio Birdman,
Magma,
Das Ding,
Robert Wyatt,
Negative Approach,
Stiv Bators,
Blake Baxter,
Terrestrial Tones,
Brick,
Minnie Riperton,
Fluxion,
Electric Light Orchestra,
Soft Machine,
The Fortunes,
Pagans,
Sandy B,
Lower 48,
The Black Dice,
Young Marble Giants,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Count Five,
Donny Hathaway,
Derrick May, Derrick May, Derrick May, Derrick May.
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.