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 Georgia and from Sao Paulo.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Lyon.
I'm losing my edge to the art-school Accra 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 rhodes sounds with much patience.
I was there when Robert Palmer 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 Rotary Connection to the rap kids.
I played it at the Spitz.
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 Count Five. All the underground hits.
All Heaven 17 tracks. I heard you have a vinyl of every Sly & The Family Stone record on German import.
I heard that you have a white label of every seminal dance 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 oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Magma,
Avey Tare's Slasher Flicks,
Agent Orange,
Minor Threat,
The Associates,
The Vogues,
Gerry Rafferty,
Frankie Knuckles,
The Peanut Butter Conspiracy,
Technova,
The Doors,
Strawberry Alarm Clock,
Mad Mike,
The Gladiators,
Bobby Sherman,
Michelle Simonal,
Chrome,
Black Sheep,
The Royal Family And The Poor,
Black Flag,
Guru Guru,
Sam Rivers,
Faust,
Camron Feat. Memphis Bleek And Beenie Seigel,
Al Stewart,
The Evens,
The American Breed,
Gang Gang Dance,
Tim Buckley,
Zero Boys,
Marvin Gaye,
Marc Almond,
The United States of America,
Jesper Dahlbäck,
Pharaoh Sanders and the Fire Engines,
Public Image Ltd.,
Pulsallama,
CMW,
Susan Cadogan,
Angels of Light & Akron/Family,
Lucky Dragons,
Max Romeo,
Young Marble Giants,
Fatback Band,
Qualms,
Liaisons Dangereuses,
Crash Course in Science,
B.T. Express,
Traffic Nightmare,
Duran Duran,
The Smoke,
Sound Behaviour,
Electric Light Orchestra,
Ultravox,
The Dave Clark Five,
Depeche Mode,
Country Teasers,
Marine Girls,
The Saints,
Y Pants,
Derrick Morgan, Derrick Morgan, Derrick Morgan, Derrick Morgan.
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.