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 Tajikistan and from Manchester.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Houston and London.
I'm losing my edge to the art-school Johannesburg 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 1984 at the first Arcadia 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 Mary Jane Girls to the grunge kids.
I played it at Trash.
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 Fortunes. All the underground hits.
All Sexual Harrassment tracks. I heard you have a vinyl of every Duran Duran 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 '60s cut and another box set from the '90s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Whodini record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
Interpol,
The Blues Magoos,
Henry Cow,
Louis and Bebe Barron,
Nation of Ulysses,
Gil Scott-Heron & Brian Jackson,
Desert Stars,
Red Lorry Yellow Lorry,
Joey Negro,
Public Image Ltd.,
Glambeats Corp.,
The Human League,
Major Organ And The Adding Machine,
Oblivians,
Heavy D & The Boyz,
The Gladiators,
Sonic Youth,
Brand Nubian,
Deadbeat,
Grauzone,
the Normal,
The Star Department,
Darondo,
Johnny Clarke,
The Jesus and Mary Chain,
Lower 48,
Rahsaan Roland Kirk,
Accadde A,
N.O.R.E. Featuring Pharrell,
The Moleskins,
Kurtis Blow,
Yellowson,
The Names,
Magazine,
The Pop Group,
Ajijia Myrayebe,
Jeff Mills,
Negative Approach,
Niagra,
The West Coast Pop Art Experimental Band,
Fatback Band,
Super Lover Cee & Casanova Rud,
Malaria!,
Scratch Acid,
Avey Tare's Slasher Flicks,
Notorious BIG live in Amsterdam,
In Retrospect,
June Days,
Lalo Schifrin,
K-Klass,
Radiohead,
Make Up,
The Birthday Party,
Brick,
The Busters,
The Stooges,
Lee Hazlewood,
UT,
Kool G Rap & DJ Polo,
The Electric Prunes,
Ken Boothe,
Aswad,
Supertramp, Supertramp, Supertramp, Supertramp.
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.