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 Netherlands 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 1968 to 1973.
I'm losing my edge.
To all the kids in Edmonton and Cairo.
I'm losing my edge to the art-school Madrid 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Soft Machine to the techno 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 Godley & Creme. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every Stetsasonic 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marshall Jefferson,
Ten City,
Pussy Galore,
Johnny Clarke,
The Music Machine,
Von Mondo,
Gil Scott-Heron and Jamie xx,
The Mojo Men,
Donald Byrd,
Porter Ricks,
Rites of Spring,
Juan Atkins,
Animal Collective,
Amazonics,
Angry Samoans,
Boz Scaggs,
Mandrill,
The Detroit Cobras,
The Skatalites,
Bootsy Collins,
Frankie Knuckles,
Kerri Chandler,
Essential Logic,
Ludus,
Lonnie Liston Smith,
Cluster,
Drexciya,
The Evens,
Peter & Gordon,
Buzzcocks,
Darondo,
The Moleskins,
Motorama,
UT,
the Germs,
Neil Young,
Monks,
Suicide,
Masters at Work,
Jeff Lynne,
The Alarm Clocks,
cv313,
EPMD,
Talk Talk,
Saccharine Trust,
MC5,
Inner City,
London Community Gospel Choir,
Eli Mardock,
Junior Murvin,
Stetsasonic,
Larry & the Blue Notes,
Deakin,
Bobbi Humphrey,
Sarah Menescal,
Pole,
T.S.O.L.,
Fela Kuti,
Fatback Band,
the Normal,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.