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 Rwanda and from Houston.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Seoul.
I'm losing my edge to the art-school Hong Kong 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 rhodes 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 One Last Wish to the techno kids.
I played it at Trash.
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 Notorious BIG live in Amsterdam. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Roxy Music 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Letta Mbulu record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Golliwogs,
Eric B and Rakim,
Flash Fearless,
Todd Rundgren,
Minutemen,
Connie Case,
Urselle,
Dead Boys,
The Kinks,
Janne Schatter,
Fort Wilson Riot,
The Martian,
Harpers Bizarre,
The Music Machine,
Aloha Tigers,
John Holt,
Cameo,
Mary Jane Girls,
Johnny Osbourne,
Rowland S Howard / Lydia Lunch,
Jacques Brel,
Kas Product,
Josef K,
Liaisons Dangereuses,
X-Ray Spex,
Traffic Nightmare,
Justin Hinds & The Dominoes,
Animal Collective,
Nils Olav,
Mo-Dettes,
Peter & Gordon,
K-Klass,
Drexciya,
Hasil Adkins,
Kenny Larkin,
EPMD,
Roger Hodgson,
Magazine,
Lonnie Liston Smith,
The Standells,
Sugar Minott,
Pharaoh Sanders and the Fire Engines,
Symarip,
Howard Jones,
Fad Gadget,
Moss Icon,
Marshall Jefferson,
One Last Wish,
the Normal,
Qualms,
Ultravox,
DJ Style,
Rhythm & Sound,
Juan Atkins,
Oppenheimer Analysis,
Amon Düül,
Depeche Mode,
X-102,
Minnie Riperton,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.