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 Bangladesh and from Hong Kong.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Taipei and Calgary.
I'm losing my edge to the art-school Lille 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the arpeggiator 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 Barrington Levy to the crunk kids.
I played it at the 40 Watt.
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 Johnny Osbourne. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every Be Bop Deluxe 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 '50s cut and another box set from the '70s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Leonard Cohen record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Sound Behaviour,
KRS-One,
Bauhaus,
Khruangbin,
The Music Machine,
Kool Moe Dee,
Tubeway Army,
Dual Sessions,
Sun Ra Arkestra,
Cluster,
Nation of Ulysses,
Supertramp,
Barry Ungar,
Surgeon,
Ohio Players,
Deakin,
Neu!,
Los Fastidios,
Bill Wells,
Procol Harum,
The Gap Band,
The Sound,
The Wake,
The Seeds,
Moby Grape,
L. Decosne,
Babytalk,
Lou Reed & Metallica,
Con Funk Shun,
Bobby Sherman,
ABC,
Newcleus,
The Last Poets,
Eyeless In Gaza,
Talk Talk,
Henry Cow,
Bang On A Can,
The Fortunes,
Jeff Mills,
Guru Guru,
Little Man,
Joe Finger,
Drexciya,
Gil Scott-Heron & Brian Jackson,
DNA,
The Cosmic Jokers,
Echo & the Bunnymen,
48th St. Collective,
Fela Kuti,
Slave,
Danielle Patucci,
Eurythmics,
The Angels of Light,
Bootsy Collins,
Super Lover Cee & Casanova Rud,
Thee Headcoats,
Frankie Knuckles,
Terrestrial Tones,
Amon Düül,
Delta 5,
Desert Stars,
The Fall,
Echospace,
It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day.
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.