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 United Kingdom and from Manila.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1978.
I'm losing my edge.
To all the kids in New York and Milan.
I'm losing my edge to the art-school Bologna 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Gil Scott-Heron and Jamie xx to the electroclash kids.
I played it at CBGB's.
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 Kerri Chandler. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every Arab on Radar record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Jacques Brel,
The J.B.'s,
Lindisfarne,
Swans,
Negative Approach,
Tommy Roe,
Gang Starr,
Neil Young & Crazy Horse,
The Seeds,
Notorious Big And Bone Thugs,
Connie Case,
Deepchord,
Soul II Soul,
Oblivians,
The Dave Clark Five,
Joyce Sims,
Spandau Ballet,
Donald Byrd,
The Victims,
Massinfluence,
Boredoms,
Joe Smooth,
The Skatalites,
Yellowson,
The Cramps,
The Star Department,
The Divine Comedy,
Teenage Jesus and the Jerks,
Jeff Lynne,
Blake Baxter,
Wally Richardson,
Ten City,
Deutsch Amerikanische Freundschaft,
The Blues Magoos,
Frankie Knuckles,
Tropical Tobacco,
Porter Ricks,
JFA,
Kayak,
Desert Stars,
Agitation Free,
Arthur Verocai,
Lalo Schifrin,
The Offenders,
Mark Hollis,
It's A Beautiful Day,
Alison Limerick,
Angels of Light & Akron/Family,
Barry Ungar,
Thompson Twins,
The Sonics,
Wings,
Orchestral Manoeuvres in the Dark,
John Holt,
Tomorrow,
Clear Light,
Eden Ahbez,
Stetsasonic,
Kauko Röyhkä ja Narttu,
Cabaret Voltaire,
The Dead C,
Monks,
Little Man, Little Man, Little Man, Little Man.
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.