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 Chad and from Manila.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Milan and Manchester.
I'm losing my edge to the art-school Shanghai 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin 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 The Divine Comedy to the techno 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 Curtis Mayfield. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every Bluetip record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
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 Maurizio record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
Dual Sessions,
The Vogues,
Essential Logic,
DNA,
Liaisons Dangereuses,
Grandmaster Flash and the Furious Five,
The Toasters,
Bobby Hutcherson,
Interpol,
Hardrive,
The J.B.'s,
The Durutti Column,
FM Einheit,
Curtis Mayfield,
Hashim,
Kool G Rap & DJ Polo,
Drive Like Jehu,
Sun City Girls,
Kurtis Blow,
Ultravox,
The Shadows of Knight,
Sonic Youth,
Robert Wyatt,
Sparks,
Eden Ahbez,
The Associates,
Lizzy Mercier Descloux,
Skaos,
Lonnie Liston Smith,
Pere Ubu,
Public Enemy,
Cabaret Voltaire,
Terror Squad Feat. Camron,
Rapeman,
Aaron Thompson,
Amazonics,
Intrusion,
Heavy D & The Boyz,
Liliput,
Fort Wilson Riot,
the Slits,
Derrick May,
Royal Trux,
Kerrie Biddell,
Ultimate Spinach,
Wighnomy Brothers & Robag Wruhme,
Bob Dylan,
Index,
Minor Threat,
Japan,
The Zeros,
the Normal,
Brothers Johnson,
Basic Channel,
Franke,
Funky Four + One,
Shoche,
Lower 48,
Deakin, Deakin, Deakin, Deakin.
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.