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 El Salvador 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 1966 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Beijing.
I'm losing my edge to the art-school Beijing 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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator 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 Connie Case to the grime kids.
I played it at the Astoria.
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 B.T. Express. All the underground hits.
All Yazoo tracks. I heard you have a vinyl of every Masta Ace, Craig G, Kool G Rap, Big Daddy Kane 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 '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Radiopuhelimet record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
Lizzy Mercier Descloux,
The Tremeloes,
Sun Ra,
Eurythmics,
Absolute Body Control,
Panda Bear,
Robert Hood,
Colin Newman,
Andrew Hill,
Roy Ayers Ubiquity,
Kenny Larkin,
June Days,
The J.B.'s,
Delon & Dalcan,
Ice-T,
Eric Dolphy,
Lalo Schifrin,
Massinfluence,
Bob Dylan,
Gregory Isaacs,
U.S. Maple,
Lower 48,
Ralphi Rosario,
The Litter,
T. Rex,
Sun City Girls,
The Names,
Roy Ayers,
Babytalk,
Banda Bassotti,
The Real Kids,
Delta 5,
Yaz,
Sly & The Family Stone,
Lucky Dragons,
Con Funk Shun,
Public Image Ltd.,
Subhumans,
Faust,
Wighnomy Brothers & Robag Wruhme,
Arcadia,
The Sound,
The Motions,
La Düsseldorf,
Icehouse,
Boredoms,
Avey Tare's Slasher Flicks,
Matthew Bourne,
Sun Ra Arkestra,
Surgeon,
David McCallum,
Eric B and Rakim,
Cecil Taylor,
Tim Buckley,
Lou Reed,
The Jesus and Mary Chain,
Rosa Yemen,
Interpol,
ABBA, ABBA, ABBA, ABBA.
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.