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 Indonesia and from Stockholm.
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 1979.
I'm losing my edge.
To all the kids in Delhi and Portland.
I'm losing my edge to the art-school Lille 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the synthesizer 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 Robert Görl to the grime kids.
I played it at the Troubador.
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 Flesh Eaters. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every AZ record on German import.
I heard that you have a white label of every seminal rock 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 synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
Gil Scott-Heron and Jamie xx,
The New Christs,
June of 44,
A Certain Ratio,
Icehouse,
Deutsch Amerikanische Freundschaft,
Mary Jane Girls,
Intrusion,
Grandmaster Flash and the Furious Five,
Davy DMX,
London Community Gospel Choir,
Skaos,
Donny Hathaway,
It's A Beautiful Day,
Khruangbin,
Kurtis Blow,
KRS-One,
These Immortal Souls,
Jacob Miller,
Quantec,
Erykah Badu,
Dark Day,
Essential Logic,
Cecil Taylor,
Spoonie Gee,
The Standells,
Funkadelic,
Hot Snakes,
Rahsaan Roland Kirk,
Cal Tjader,
Aural Exciters,
Lyres,
Main Source,
Yaz,
Lower 48,
Oblivians,
Janne Schatter,
The Barracudas,
Pagans,
Cymande,
DNA,
Grandmaster Flash,
Sonny Sharrock,
The Names,
The Cosmic Jokers,
The Sisters of Mercy,
Rosa Yemen,
Livin' Joy,
Lee Hazlewood,
Soul II Soul,
Matthew Halsall,
Mad Mike,
Grey Daturas,
Adolescents,
Chrome,
Kings Of Tomorrow,
The Fall,
Silicon Teens,
Pere Ubu,
Ash Ra Tempel,
LL Cool J,
Lonnie Liston Smith,
Simply Red, Simply Red, Simply Red, Simply Red.
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.