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 Ecuador and from Lille.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Tehran and Sao Paulo.
I'm losing my edge to the art-school Columbus 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 808 sounds with much patience.
I was there when Michael McDonald 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 Associates 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 Radiopuhelimet. All the underground hits.
All Gastr Del Sol tracks. I heard you have a vinyl of every Rahsaan Roland Kirk record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Yellowson record.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
Basic Channel,
Cecil Taylor,
Masters at Work,
The Sonics,
the Bar-Kays,
Swell Maps,
Gang Gang Dance,
Dave Gahan,
UT,
The Residents,
Cabaret Voltaire,
Art Ensemble Of Chicago,
Kauko Röyhkä ja Narttu,
Excepter,
The Neon Judgement,
Lightning Bolt,
Idris Muhammad,
The Alarm Clocks,
Ronnie Foster,
Brick,
The Names,
Byron Stingily,
The Seeds,
Oneida,
Sonic Youth,
Avey Tare,
Schoolly D,
Tubeway Army,
Be Bop Deluxe,
Lou Reed & John Cale,
Niagra,
Echo & the Bunnymen,
Bad Manners,
Man Parrish,
Smog,
Roxette,
Electric Light Orchestra,
Pussy Galore,
Reagan Youth,
Rekid,
Faust,
Talk Talk,
Black Moon,
Junior Murvin,
Loose Ends,
Kool G Rap & DJ Polo,
Silicon Teens,
Procol Harum,
Eric B and Rakim,
Harpers Bizarre,
Gong,
Patti Smith,
The Star Department,
Kenny Larkin,
Mary Jane Girls,
Sunsets and Hearts,
EPMD,
Deadbeat,
Kaleidoscope, Kaleidoscope, Kaleidoscope, Kaleidoscope.
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.