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 Fiji and from Hong Kong.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Milan.
I'm losing my edge to the art-school Edmonton 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the marimba sounds with much patience.
I was there when Nile Rodgers 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 Warsaw 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 The Divine Comedy. All the underground hits.
All Gichy Dan tracks. I heard you have a vinyl of every Grandmaster Flash record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
Dorothy Ashby,
The Young Rascals,
Henry Cow,
Lower 48,
Metal Thangz,
The Associates,
The Saints,
Moby Grape,
China Crisis,
Stiv Bators,
Porter Ricks,
Nick Fraelich,
The Birthday Party,
Negative Approach,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The New Christs,
Joyce Sims,
Radiohead,
John Holt,
cv313,
The Slits,
Black Sheep,
Warren Ellis,
The Victims,
Tom Boy,
The Doors,
Throbbing Gristle,
Vaughan Mason & Crew,
Mantronix,
Kauko Röyhkä ja Narttu,
ABC,
Main Source,
Jacob Miller,
Amon Düül II,
Bootsy Collins,
Dark Day,
Minor Threat,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Kinks,
The Martian,
Pete Rock & C.L. Smooth,
Symarip,
Letta Mbulu,
Funky Four + One,
Scratch Acid,
Angry Samoans,
Be Bop Deluxe,
Crispian St. Peters,
Skriet,
Kerrie Biddell,
Bill Near,
The Raincoats,
Sly & The Family Stone,
Piero Umiliani,
Yellowson,
Monks,
Pantytec,
Echospace,
James White and The Blacks,
Byron Stingily,
Suburban Knight,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.