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 Nauru and from Salvador.
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 1971.
I'm losing my edge.
To all the kids in Hong Kong and Toronto.
I'm losing my edge to the art-school Winnipeg 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the clarinet sounds with much patience.
I was there when Nile Rodgers 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 Barrington Levy to the dance 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 Terry Callier. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every Tom Boy record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
CMW,
Visionaries,LMNO, T- Love & Iriscience,
The Vogues,
the Association,
The Monks,
Joyce Sims,
Kerri Chandler,
The Velvet Underground,
Basic Channel,
Laurel Aitken,
Matthew Bourne,
Camron Feat. Memphis Bleek And Beenie Seigel,
Throbbing Gristle,
Radiopuhelimet,
Thinking Fellers Union Local 282,
The Mummies,
Guru Guru,
Eric Copeland,
Ornette Coleman,
Simply Red,
The Divine Comedy,
Bizarre Inc.,
The Gladiators,
ABC,
Gregory Isaacs,
Donald Byrd,
Lalo Schifrin,
Banda Bassotti,
Malaria!,
Maleditus Sound,
Television,
It's A Beautiful Day,
R.M.O.,
Swans,
Magma,
Newcleus,
MDC,
Echospace,
Chrome,
Scientists,
The Martian,
Adolescents,
Roxette,
The Stooges,
Harry Pussy,
Sparks,
Sonic Youth,
Clear Light,
Max Romeo,
Fad Gadget,
Mad Mike,
Scion,
Oneida,
Can,
Rotary Connection,
Brothers Johnson,
The Buckinghams,
Brand Nubian,
Cabaret Voltaire,
Pantytec,
Leonard Cohen,
Eli Mardock,
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.