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 El Salvador and from Mumbai.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1968 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Halifax.
I'm losing my edge to the art-school Tehran 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 clarinet sounds with much patience.
I was there when Michael McDonald 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 Rufus Thomas to the techno kids.
I played it at the Hacienda.
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 Todd Terry. All the underground hits.
All The Litter tracks. I heard you have a vinyl of every The New Christs 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 '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Chocolate Watch Band record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker + Sunn O))),
Henry Cow,
Bang on a Can All-Stars,
Soul Sonic Force,
Schoolly D,
Gang Starr,
Rapeman,
Letta Mbulu,
David McCallum,
Con Funk Shun,
Andrew Hill,
Arthur Verocai,
Michelle Simonal,
Crooked Eye,
Lindisfarne,
Angry Samoans,
Sound Behaviour,
KRS-One,
Harry Pussy,
Deadbeat,
Joe Smooth,
The Music Machine,
China Crisis,
the Normal,
The Invisible,
John Cale,
Danielle Patucci,
Banda Bassotti,
This Heat,
The Star Department,
Stockholm Monsters,
Nik Kershaw,
London Community Gospel Choir,
Circle Jerks,
Rosa Yemen,
Dorothy Ashby,
Louis and Bebe Barron,
Bang On A Can,
The Gories,
Davy DMX,
cv313,
The Mummies,
Metal Thangz,
Gabor Szabo,
Jeru the Damaja,
The Seeds,
Joey Negro,
The Fortunes,
Supertramp,
Main Source,
The Offenders,
Ultramagnetic MC's,
The Selecter,
John Foxx,
Sällskapet,
the Soft Cell,
The Litter,
Marmalade,
Roy Ayers,
Soft Cell,
Bootsy's Rubber Band,
The Trojans, The Trojans, The Trojans, The Trojans.
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.