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 Syria and from Paris.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1970.
I'm losing my edge.
To all the kids in Mumbai and Bologna.
I'm losing my edge to the art-school Lille 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 theremin 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 Lonnie Liston Smith to the dance kids.
I played it at the Astoria.
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 Kool Moe Dee. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every Model 500 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
Magma,
The United States of America,
Roy Ayers,
Gil Scott-Heron and Jamie xx,
X-102,
R.M.O.,
The Shadows of Knight,
Robert Wyatt,
Rosa Yemen,
Sunsets and Hearts,
Wolf Eyes,
Frankie Knuckles,
Grey Daturas,
Warsaw,
the Slits,
Boogie Down Productions,
KRS-One,
Audionom,
The Smiths,
Kings Of Tomorrow,
June of 44,
Franke,
The Human League,
Icehouse,
Amon Düül II,
Underground Resistance,
Unwound,
Wally Richardson,
Teenage Jesus and the Jerks,
Crispy Ambulance,
Parry Music,
The Kinks,
Godley & Creme,
Deepchord,
The Doors,
Max Romeo,
Lungfish,
Derrick Morgan,
David McCallum,
Skriet,
Masters at Work,
Avey Tare & Kría Brekkan,
Kerrie Biddell,
Kas Product,
Clear Light,
Interpol,
DNA,
The Litter,
Strawberry Alarm Clock,
Avey Tare's Slasher Flicks,
Peter Gordon & Love of Life Orchestra,
Heaven 17,
Terror Squad Feat. Camron,
Monks,
New York Dolls,
Sad Lovers and Giants,
Marshall Jefferson,
Girls At Our Best!,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.