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 Colombia and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1971.
I'm losing my edge.
To all the kids in Paris and Toronto.
I'm losing my edge to the art-school Tokyo 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 mellotron sounds with much patience.
I was there when Robert Palmer 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 Flash Fearless to the crunk 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 In Retrospect. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Quadrant record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Underground Resistance,
Barbara Tucker,
Sixth Finger,
Jacob Miller,
FM Einheit,
Eric B and Rakim,
The Music Machine,
Alice Coltrane,
Minor Threat,
R.M.O.,
Pussy Galore,
Youth Brigade,
Derrick May,
Wings,
Gabor Szabo,
Tommy Roe,
Von Mondo,
Robert Wyatt,
Heavy D & The Boyz,
L. Decosne,
Outsiders,
Nik Kershaw,
Pantytec,
Sonny Sharrock,
Tubeway Army,
Spandau Ballet,
Grandmaster Flash and the Furious Five,
Cal Tjader,
Moebius,
The Pop Group,
Junior Murvin,
Jesper Dahlbäck,
Pierre Henry,
The Chocolate Watch Band,
The American Breed,
Television,
Bobby Byrd,
UT,
Yaz,
Buzzcocks,
Sly & The Family Stone,
Frankie Knuckles,
The Count Five,
The Busters,
Donny Hathaway,
Kevin Saunderson,
These Immortal Souls,
Q and Not U,
Quantec,
Eden Ahbez,
Mantronix,
DJ Sneak,
Amon Düül II,
Johnny Osbourne,
June of 44,
The Remains,
Stetsasonic,
Eurythmics,
The Divine Comedy,
Notorious Big And Bone Thugs,
Talk Talk, Talk Talk, Talk Talk, Talk Talk.
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.