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 Belgium 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 1966 to 1970.
I'm losing my edge.
To all the kids in Calgary and Glasgow.
I'm losing my edge to the art-school Paris 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 at the first Suicide practice in a loft in New York.
I was working on the rhodes 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 The Cosmic Jokers to the disco 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 Vaughan Mason & Crew. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Finger,
Robert Görl,
Scratch Acid,
Ultra Naté,
Gil Scott-Heron and Jamie xx,
Marmalade,
Liaisons Dangereuses,
Moss Icon,
Con Funk Shun,
Tubeway Army,
Kayak,
The Skatalites,
Ornette Coleman,
Bronski Beat,
JFA,
Nick Cave & The Bad Seeds,
Orchestral Manoeuvres in the Dark,
Agent Orange,
Absolute Body Control,
Graham Central Station,
Amon Düül,
The Cosmic Jokers,
The Trojans,
Model 500,
Jawbox,
Gregory Isaacs,
The Star Department,
Carl Craig,
Rhythm & Sound,
The Birthday Party,
Adolescents,
Heavy D & The Boyz,
OOIOO,
Fat Boys,
Magazine,
Thinking Fellers Union Local 282,
The Index,
Kenny Larkin,
Michelle Simonal,
Jesper Dahlback,
DeepChord presents Echospace,
Big Daddy Kane,
The Toasters,
Tom Boy,
The Gories,
DJ Style,
Eric Dolphy,
Sonny Sharrock,
Gichy Dan,
Sandy B,
Soul II Soul,
Camron Feat. Memphis Bleek And Beenie Seigel,
Kango’s Stein Massive,
Electric Light Orchestra,
Aural Exciters,
Lee Hazlewood,
Flash Fearless,
Nico,
The Fuzztones,
Funky Four + One,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
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.