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 Sweden and from Woodstock.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Edmonton and Stockholm.
I'm losing my edge to the art-school Taipei 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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 Hardrive to the techno kids.
I played it at Cafe Wha.
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 Ohio Players. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every Johnny Clarke 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 spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
Tom Boy,
EPMD,
Major Organ And The Adding Machine,
Crispian St. Peters,
FM Einheit,
Nas,
Donny Hathaway,
Underground Resistance,
The Busters,
Little Man,
R.M.O.,
The Standells,
The Sisters of Mercy,
Black Sheep,
Grandmaster Flash,
Darondo,
Nico,
KRS-One,
The Angels of Light,
Ronnie Foster,
Steve Hackett,
Talk Talk,
Minnie Riperton,
Judy Mowatt,
Ultravox,
Reagan Youth,
Ralphi Rosario,
The Remains,
The Buckinghams,
The J.B.'s,
Pantaleimon,
Au Pairs,
Angels of Light & Akron/Family,
Dual Sessions,
Schoolly D,
The Men They Couldn't Hang,
Main Source,
Anakelly,
Zero Boys,
Visionaries,LMNO, T- Love & Iriscience,
Television,
Bill Wells,
Inner City,
Loose Ends,
Electric Prunes,
The Offenders,
Don Cherry,
Banda Bassotti,
Bluetip,
Bronski Beat,
Joe Smooth,
Flash Fearless,
Franke,
Y Pants,
Yazoo,
Boredoms,
Grauzone,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.