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 San Marino and from New York.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1974.
I'm losing my edge.
To all the kids in Hong Kong and Johannesburg.
I'm losing my edge to the art-school Accra 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 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 Subhumans to the grime kids.
I played it at Cafe Wha.
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 Jeff Mills 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 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 an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Audionom 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?
Letta Mbulu,
Gang Starr,
Camron Feat. Jay Z And Juelz,
Alison Limerick,
Mission of Burma,
The Music Machine,
Echospace,
Rakim,
The Names,
Nation of Ulysses,
Kerrie Biddell,
Morten Harket,
Tears for Fears,
New York Dolls,
Malaria!,
The Flesh Eaters,
Grauzone,
The Sisters of Mercy,
Marc Almond,
Index,
Sad Lovers and Giants,
Stetsasonic,
The Black Dice,
Scientists,
Brothers Johnson,
cv313,
Arcadia,
Von Mondo,
Suburban Knight,
Kerri Chandler,
Jesper Dahlback,
Bush Tetras,
Minor Threat,
Aural Exciters,
June of 44,
D'Angelo,
The Dave Clark Five,
Spoonie Gee,
The Count Five,
Thee Headcoats,
Max Romeo,
Charles Mingus,
The Index,
The Seeds,
Leonard Cohen,
Nico,
48th St. Collective,
Funkadelic,
Animal Collective,
Warsaw,
Public Image Ltd.,
Icehouse,
Gary Puckett & The Union Gap,
James White and The Blacks,
Bauhaus,
KRS-One,
The Gap Band,
Teenage Jesus and the Jerks,
Boogie Down Productions,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.