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 Jamaica and from Paris.
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 1971.
I'm losing my edge.
To all the kids in Calgary and Tokyo.
I'm losing my edge to the art-school Portland 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 Art of Noise practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Holger Czukay 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 The Move to the grime 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 Althea and Donna. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every Mars 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 '90s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Tim Buckley record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Super Lover Cee & Casanova Rud,
The Moody Blues,
The Sisters of Mercy,
Fatback Band,
Rhythim Is Rhythim,
Gabor Szabo,
Colin Newman,
The Birthday Party,
This Heat,
T.S.O.L.,
Bad Manners,
Ken Boothe,
Jesper Dahlback,
Trumans Water,
Gil Scott Heron,
Erykah Badu,
Eric B and Rakim,
Theoretical Girls,
Glenn Branca,
The Leaves,
Bobby Hutcherson,
Arab on Radar,
Junior Murvin,
AZ,
Roy Ayers Ubiquity,
The Buckinghams,
Letta Mbulu,
The Dead C,
The Cramps,
Marmalade,
Skriet,
Pet Shop Boys,
The Busters,
Rosa Yemen,
Bronski Beat,
Bang on a Can All-Stars,
Girls At Our Best!,
Swans,
Jeff Mills,
MDC,
The Barracudas,
Monks,
KRS-One,
Susan Cadogan,
Minny Pops,
Blake Baxter,
Lower 48,
Terry Callier,
Circle Jerks,
Minor Threat,
Siglo XX,
The Move,
The Gap Band,
Amon Düül,
Donny Hathaway,
Bobby Womack,
Derrick May,
The Mighty Diamonds,
Procol Harum,
Hasil Adkins,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.