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 Suriname and from Bremen.
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 1972.
I'm losing my edge.
To all the kids in Portland and Delhi.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the sitar sounds with much patience.
I was there when David Bowie 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 La Düsseldorf to the funk kids.
I played it at CBGB's.
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 Desert Stars. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Idris Muhammad 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 '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
Thinking Fellers Union Local 282,
Nirvana,
Radiopuhelimet,
Louis and Bebe Barron,
Alphaville,
Marine Girls,
Intrusion,
Neu!,
Anthony Braxton,
Bush Tetras,
Gregory Isaacs,
Chris Corsano,
Orchestral Manoeuvres in the Dark,
Au Pairs,
Soulsonic Force,
Arab on Radar,
The Evens,
Lightning Bolt,
Kango’s Stein Massive,
Depeche Mode,
James White and The Blacks,
Peter and Kerry,
Fear,
Infiniti,
Dawn Penn,
Arthur Verocai,
Joyce Sims,
Howard Jones,
Suicide,
the Bar-Kays,
Con Funk Shun,
Josef K,
Grauzone,
Archie Shepp,
Camouflage,
The Black Dice,
Tears for Fears,
Dual Sessions,
Eric Copeland,
Rosa Yemen,
China Crisis,
Negative Approach,
Outsiders,
Freddie Wadling,
Cabaret Voltaire,
Franke,
The Raincoats,
Boz Scaggs,
X-101,
Sun Ra Arkestra,
Shoche,
Groovy Waters,
the Association,
Rekid,
Mars,
Rapeman,
Ituana,
Faraquet,
The Young Rascals,
UT,
Anakelly,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.