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 Guinea-Bissau and from Jakarta.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Manila and Copenhagen.
I'm losing my edge to the art-school Copenhagen 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 snare 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 X-101 to the rap 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 The Moleskins. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every China Crisis record on German import.
I heard that you have a white label of every seminal electroclash 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 an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Khruangbin record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare 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?
Louis and Bebe Barron,
Pylon,
Sugar Minott,
Magma,
Gil Scott-Heron and Jamie xx,
Eurythmics,
Motorama,
Man Parrish,
Mark Hollis,
The Modern Lovers,
Pagans,
Connie Case,
Scott Walker,
New York Dolls,
D'Angelo,
Con Funk Shun,
The Last Poets,
Hot Snakes,
Electric Prunes,
Public Image Ltd.,
Saccharine Trust,
Soul II Soul,
The Busters,
F. McDonald,
Malaria!,
Peter and Kerry,
Teenage Jesus and the Jerks,
The Fuzztones,
The Blackbyrds,
Los Fastidios,
Richard Hell and the Voidoids,
The Star Department,
Qualms,
The Gap Band,
The Five Americans,
Don Cherry,
Tim Buckley,
It's A Beautiful Day,
Joe Smooth,
Minnie Riperton,
Lou Reed & John Cale,
Lindisfarne,
Peter Gordon & Love of Life Orchestra,
Deakin,
Howard Jones,
Visage,
New Age Steppers,
The Smiths,
Sly & The Family Stone,
Joy Division,
Andrew Ashong & Theo Parrish,
Amazonics,
Ituana,
Crime,
Kerrie Biddell,
Barrington Levy,
Erykah Badu,
The Leaves,
Lee Hazlewood,
The Wake,
X-Ray Spex,
Anakelly, Anakelly, Anakelly, Anakelly.
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.