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 Bahamas and from London.
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 1973.
I'm losing my edge.
To all the kids in Philadelphia and Halifax.
I'm losing my edge to the art-school Lagos 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 sitar sounds with much patience.
I was there when David Bowie 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 48th St. Collective to the rap kids.
I played it at the Crocodile.
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 Buckinghams. All the underground hits.
All Cecil Taylor tracks. I heard you have a vinyl of every World's Most 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 '60s cut and another box set from the '70s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a June of 44 record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
D'Angelo,
Lucky Dragons,
The Cowsills,
DNA,
Siglo XX,
The Buckinghams,
Icehouse,
Young Marble Giants,
X-102,
X-Ray Spex,
Frankie Knuckles,
Sparks,
Joyce Sims,
Hardrive,
Country Teasers,
Dark Day,
Thee Headcoats,
Audionom,
Barclay James Harvest,
La Düsseldorf,
FM Einheit,
Minnie Riperton,
Shuggie Otis,
Glambeats Corp.,
Girls At Our Best!,
A Certain Ratio,
Letta Mbulu,
DeepChord presents Echospace,
Unwound,
Stiv Bators,
Gong,
Symarip,
Von Mondo,
Grey Daturas,
Gary Puckett & The Union Gap,
The Move,
The Blackbyrds,
Yellowson,
Main Source,
The Pop Group,
The Sound,
The Moody Blues,
Charles Mingus,
Mary Jane Girls,
The United States of America,
Barbara Tucker,
Nation of Ulysses,
F. McDonald,
Masters at Work,
Sarah Menescal,
Bobby Hutcherson,
The Mighty Diamonds,
Yazoo,
Black Bananas,
Joey Negro,
Sound Behaviour,
EPMD,
Jacob Miller,
World's Most,
Second Layer,
David Axelrod,
The Durutti Column, The Durutti Column, The Durutti Column, The Durutti Column.
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.