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 Slovakia and from Copenhagen.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Columbus.
I'm losing my edge to the art-school Stockholm 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 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 Minnie Riperton to the dance 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 The Techniques. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every Harry Pussy record on German import.
I heard that you have a white label of every seminal disco 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 spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
Wally Richardson,
China Crisis,
Subhumans,
The Wake,
The Remains,
H. Thieme,
Lou Reed & John Cale,
Yellowson,
Grauzone,
The Raincoats,
Boredoms,
Loose Ends,
Gian Franco Pienzio,
Buzzcocks,
Fluxion,
The Doors,
Cecil Taylor,
The Young Rascals,
Dennis Brown,
Johnny Osbourne,
Joey Negro,
Roy Ayers,
Chrome,
Arthur Verocai,
PIL,
Pulsallama,
Pylon,
Babytalk,
Jacob Miller,
Harpers Bizarre,
Los Fastidios,
Hot Snakes,
Groovy Waters,
Gastr Del Sol,
Beasts of Bourbon,
Grey Daturas,
Deakin,
The Slackers,
Kurtis Blow,
Aural Exciters,
The Count Five,
Marine Girls,
Danielle Patucci,
Johnny Clarke,
Tropical Tobacco,
the Swans,
Ken Boothe,
The Kinks,
Scott Walker,
ABBA,
KRS-One,
Stockholm Monsters,
Idris Muhammad,
Outsiders,
Junior Murvin,
Todd Terry,
Deutsch Amerikanische Freundschaft,
Tom Boy,
Gil Scott-Heron & Brian Jackson,
MC5,
Ohio Players,
Ronnie Foster,
Sexual Harrassment, Sexual Harrassment, Sexual Harrassment, Sexual Harrassment.
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.