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 Seychelles and from Delhi.
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 1977.
I'm losing my edge.
To all the kids in Seoul and London.
I'm losing my edge to the art-school New York 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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 Marvin Gaye to the disco kids.
I played it at the Roxy.
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 Au Pairs. All the underground hits.
All Country Teasers tracks. I heard you have a vinyl of every Funkadelic 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 '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radio Birdman,
Glambeats Corp.,
Gil Scott-Heron and Jamie xx,
The Gories,
Super Lover Cee & Casanova Rud,
Mad Mike,
Moss Icon,
The Dave Clark Five,
Khruangbin,
James White and The Blacks,
Be Bop Deluxe,
Urselle,
The Pretty Things,
Hashim,
Andrew Hill,
48th St. Collective,
Howard Jones,
Cal Tjader,
Essential Logic,
Röyhkä ja Rättö ja Lehtisalo,
DeepChord presents Echospace,
Juan Atkins,
Amon Düül II,
Deakin,
Blake Baxter,
The Tremeloes,
Rahsaan Roland Kirk,
Rod Modell,
Niagra,
Babytalk,
Skriet,
Blancmange,
Johnny Osbourne,
Y Pants,
The Cure,
Darondo,
Notorious BIG live in Amsterdam,
The Mighty Diamonds,
Talk Talk,
Cybotron,
Barbara Tucker,
Robert Wyatt,
Kerrie Biddell,
Sandy B,
L. Decosne,
Soulsonic Force,
Franke,
Jandek,
Barry Ungar,
Metal Thangz,
The Vogues,
The Blackbyrds,
Maleditus Sound,
The Angels of Light,
Fort Wilson Riot,
the Swans,
Marine Girls,
Wire,
Jesper Dahlbäck,
Gerry Rafferty,
The Blues Magoos,
Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's.
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.