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 Solomon Islands and from Manila.
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 1970.
I'm losing my edge.
To all the kids in Tehran and Mexico City.
I'm losing my edge to the art-school Jakarta 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the theremin 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 Lebanon Hanover to the dance 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 Laurel Aitken. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Infiniti record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donald Byrd,
The Kinks,
Delon & Dalcan,
Radiopuhelimet,
Judy Mowatt,
Crooked Eye,
Gil Scott-Heron & Brian Jackson,
Pantaleimon,
Black Pus,
Soft Machine,
Jeff Mills,
Larry & the Blue Notes,
The Chocolate Watch Band,
Can,
Arcadia,
The West Coast Pop Art Experimental Band,
Mary Jane Girls,
Television Personalities,
Siouxsie and the Banshees,
the Germs,
Soul II Soul,
Graham Central Station,
The Alarm Clocks,
Cecil Taylor,
Blossom Toes,
Das Ding,
Drive Like Jehu,
Minor Threat,
The Neon Judgement,
Peter Gordon & Love of Life Orchestra,
Tropical Tobacco,
MDC,
JFA,
Curtis Mayfield,
The Names,
Negative Approach,
Fluxion,
Ornette Coleman,
Sarah Menescal,
Heavy D & The Boyz,
Technova,
Lizzy Mercier Descloux,
Throbbing Gristle,
R.M.O.,
The Cramps,
Livin' Joy,
Mandrill,
Aural Exciters,
Make Up,
the Sonics,
Blake Baxter,
Lyres,
Camberwell Now,
Brothers Johnson,
The Durutti Column,
Desert Stars,
Peter and Kerry,
Delta 5,
Lungfish,
Franke, Franke, Franke, Franke.
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.