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 Equatorial Guinea and from Lagos.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1961 to 1976.
I'm losing my edge.
To all the kids in Beijing and Bologna.
I'm losing my edge to the art-school Calgary 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 harpsichord 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 Country Teasers to the funk kids.
I played it at the Crocodile.
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 Electric Prunes. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Marshall Jefferson 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
Bobby Sherman,
Harry Pussy,
Liaisons Dangereuses,
Girls At Our Best!,
Half Japanese,
Echospace,
Reuben Wilson,
Pulsallama,
Matthew Bourne,
Goldenarms,
Sun Ra,
Mission of Burma,
Gerry Rafferty,
Black Flag,
Oblivians,
LL Cool J,
Jandek,
The Stooges,
Gong,
Minny Pops,
Blancmange,
Spandau Ballet,
Marshall Jefferson,
Mark Hollis,
Angry Samoans,
Rapeman,
Animal Collective,
Althea and Donna,
the Germs,
Connie Case,
Surgeon,
Heaven 17,
One Last Wish,
Glambeats Corp.,
Nas,
Brothers Johnson,
Soul Sonic Force,
Be Bop Deluxe,
The Standells,
The Star Department,
Curtis Mayfield,
Drexciya,
DNA,
Eden Ahbez,
Bang on a Can All-Stars,
Kings Of Tomorrow,
Super Lover Cee & Casanova Rud,
Skaos,
Simply Red,
F. McDonald,
Deakin,
Parry Music,
Jesper Dahlback,
De La Soul & Jungle Brothers,
The Seeds,
Kauko Röyhkä ja Narttu,
The Leaves,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.