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 Senegal and from Columbus.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Portland and Portland.
I'm losing my edge to the art-school Delhi 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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Kinks to the techno kids.
I played it at the Troubador.
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 Quantec. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every the Bar-Kays 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Gil Scott Heron,
Traffic Nightmare,
Soul Sonic Force,
Sexual Harrassment,
Orchestral Manoeuvres in the Dark,
Lonnie Liston Smith,
Sound Behaviour,
Mars,
Röyhkä ja Rättö ja Lehtisalo,
The Selecter,
Blancmange,
The Golliwogs,
Johnny Clarke,
Severed Heads,
Yaz,
Model 500,
Patti Smith,
Toni Rubio,
Hot Snakes,
Deepchord,
Average White Band,
Eve St. Jones,
Von Mondo,
Wire,
Deutsch Amerikanische Freundschaft,
Aaron Thompson,
Slick Rick,
Easy Going,
The Sisters of Mercy,
Gastr Del Sol,
Grauzone,
Yazoo,
Amon Düül,
Mo-Dettes,
Gil Scott-Heron and Jamie xx,
The Associates,
The Tremeloes,
The Gories,
Gary Puckett & The Union Gap,
Gang Gang Dance,
Sandy B,
Japan,
Ossler,
Derrick May,
Masters at Work,
Suicide,
Sister Nancy,
Kool G Rap & DJ Polo,
CMW,
Gang Starr,
The Skatalites,
Sun Ra Arkestra,
Red Lorry Yellow Lorry,
DNA,
Roxette,
Joy Division,
the Bar-Kays,
Cymande, Cymande, Cymande, Cymande.
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.