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 Malawi and from Taipei.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Stockholm.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro 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 Mars to the punk kids.
I played it at the Spitz.
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 Ultra Naté. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every Pet Shop Boys 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 '70s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Joyce Sims record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magazine,
Yaz,
The Offenders,
The Seeds,
The Zeros,
Thompson Twins,
Metal Thangz,
The Smiths,
10cc,
K-Klass,
Alphaville,
Scrapy,
John Cale,
Minor Threat,
Amon Düül,
Nas,
Crash Course in Science,
Unwound,
Popol Vuh,
Notorious BIG live in Amsterdam,
Reuben Wilson,
The Litter,
Idris Muhammad,
The Standells,
PIL,
Soul II Soul,
Hardrive,
John Holt,
Connie Case,
Sad Lovers and Giants,
Pantaleimon,
The Martian,
Neil Young,
Kurtis Blow,
Hoover,
The Count Five,
Slick Rick,
Deadbeat,
Underground Resistance,
Charles Mingus,
Sun City Girls,
Glenn Branca,
OOIOO,
Thinking Fellers Union Local 282,
Kerrie Biddell,
The Durutti Column,
Pulsallama,
Aural Exciters,
Alice Coltrane,
Orchestral Manoeuvres in the Dark,
Gichy Dan,
Mandrill,
Ronnie Foster,
Motorama,
Crooked Eye,
The Jesus and Mary Chain,
Richard Hell and the Voidoids,
This Heat,
The Skatalites,
Eyeless In Gaza,
La Düsseldorf,
Bush Tetras, Bush Tetras, Bush Tetras, Bush Tetras.
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.