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 Azerbaijan and from Tehran.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1971.
I'm losing my edge.
To all the kids in London and Philadelphia.
I'm losing my edge to the art-school Glasgow 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 guitar sounds with much patience.
I was there when Donald Fagen 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 the Human League to the disco kids.
I played it at the Hacienda.
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 Tomorrow. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Jeff Mills 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 '80s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Con Funk Shun,
Pharoah Sanders,
Soft Machine,
Black Bananas,
the Human League,
Los Fastidios,
The Motions,
Max Romeo,
The Last Poets,
Lyres,
Funkadelic,
Bill Near,
The United States of America,
Robert Görl,
The Slits,
Ralphi Rosario,
The Vogues,
Warren Ellis,
Yusef Lateef,
Avey Tare,
Louis and Bebe Barron,
Andrew Hill,
Section 25,
Simply Red,
Arcadia,
Guru Guru,
Parry Music,
The Men They Couldn't Hang,
Vaughan Mason & Crew,
Boogie Down Productions,
Soul II Soul,
Kool G Rap & DJ Polo,
The Dead C,
Bootsy Collins,
Alphaville,
Severed Heads,
Oppenheimer Analysis,
MC5,
The Victims,
John Holt,
T. Rex,
Swans,
Minnie Riperton,
Average White Band,
the Slits,
DJ Style,
Patti Smith,
Richard Hell and the Voidoids,
Scott Walker,
John Coltrane,
DNA,
Ornette Coleman,
Mad Mike,
Black Moon,
Lebanon Hanover,
Easy Going,
Gary Puckett & The Union Gap,
The Martian,
Malaria!,
Black Pus,
Pagans, Pagans, Pagans, Pagans.
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.