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 Fiji and from Bremen.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Taipei and Toronto.
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 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 Buckinghams to the funk kids.
I played it at the Astoria.
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 Clear Light. All the underground hits.
All Fela Kuti tracks. I heard you have a vinyl of every Minnie Riperton record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Durutti Column record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Erasure,
Derrick Morgan,
Icehouse,
Inner City,
Electric Prunes,
Accadde A,
Fear,
Gerry Rafferty,
Sad Lovers and Giants,
The Moleskins,
The Chocolate Watch Band,
Tomorrow,
Neu!,
Wasted Youth,
June Days,
Dr. Dre and Snoop Doggy Dog,
Hasil Adkins,
Scott Walker,
The Electric Prunes,
Metal Thangz,
Rufus Thomas,
Infiniti,
Roger Hodgson,
Ken Boothe,
Half Japanese,
Deutsch Amerikanische Freundschaft,
Q and Not U,
Ornette Coleman,
Andrew Ashong & Theo Parrish,
Boogie Down Productions,
Public Image Ltd.,
Skarface,
Crime,
Scrapy,
The Neon Judgement,
Alton Ellis,
Bobby Sherman,
Chris Corsano,
Blancmange,
Qualms,
Terry Callier,
Kaleidoscope,
Skaos,
Q65,
Delon & Dalcan,
Barry Ungar,
Hot Snakes,
Gong,
Kas Product,
Bizarre Inc.,
Circle Jerks,
Roxette,
Black Pus,
Lucky Dragons,
Judy Mowatt,
The Motions,
Sparks,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Ossler,
The Beau Brummels,
David McCallum,
Man Parrish,
The Litter,
Yazoo, Yazoo, Yazoo, Yazoo.
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.