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 Guyana and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Accra and Mumbai.
I'm losing my edge to the art-school Seoul 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Matthew Halsall to the grime 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 The Leaves. All the underground hits.
All T. Rex tracks. I heard you have a vinyl of every Funky Four + One record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rosa Yemen,
The Neon Judgement,
Public Image Ltd.,
Freddie Wadling,
Carl Craig,
The Happenings,
Liliput,
Lungfish,
Skarface,
The Black Dice,
Saccharine Trust,
Heaven 17,
the Normal,
Magma,
Dawn Penn,
Ronnie Foster,
The Gun Club,
Robert Görl,
Wolf Eyes,
Flipper,
Juan Atkins,
Faraquet,
June of 44,
The Zeros,
Derrick Morgan,
Mantronix,
Camberwell Now,
Soulsonic Force,
ABC,
Robert Wyatt,
Major Organ And The Adding Machine,
Louis and Bebe Barron,
James Chance & The Contortions,
Quadrant,
The American Breed,
Peter & Gordon,
Intrusion,
Orchestral Manoeuvres in the Dark,
Minnie Riperton,
Yellowson,
Anthony Braxton,
Donald Byrd,
Black Pus,
Man Parrish,
The Sisters of Mercy,
Television,
UT,
The Move,
These Immortal Souls,
Fela Kuti,
The Electric Prunes,
Clear Light,
Suicide,
Sister Nancy,
Sun Ra Arkestra,
The Gories,
Andrew Ashong & Theo Parrish,
Joey Negro,
Soul II Soul,
Funkadelic,
Soul Sonic Force,
Deepchord,
Slave, Slave, Slave, Slave.
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.