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 Guinea-Bissau and from Winnipeg.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Madrid.
I'm losing my edge to the art-school London 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Kerrie Biddell to the techno 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 Con Funk Shun. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Kurtis Blow record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harry Pussy,
Minnie Riperton,
Sixth Finger,
Gian Franco Pienzio,
Bootsy Collins,
Saccharine Trust,
Stereo Dub,
The Mummies,
New Order,
Main Source,
Brand Nubian,
Althea and Donna,
Beasts of Bourbon,
China Crisis,
Audionom,
Hashim,
Barry Ungar,
Fluxion,
Rotary Connection,
Gang Green,
The Moleskins,
Au Pairs,
Patti Smith,
Sällskapet,
R.M.O.,
Terry Callier,
Godley & Creme,
Marc Romboy vs. Booka Shade,
Q and Not U,
Nick Fraelich,
Minny Pops,
Liliput,
Yazoo,
Aaron Thompson,
Wally Richardson,
The Searchers,
Prince Buster,
Sister Nancy,
Arthur Verocai,
Porter Ricks,
Buzzcocks,
Das Ding,
Archie Shepp,
JFA,
Alice Coltrane,
The Tremeloes,
The Kinks,
Morten Harket,
Lou Reed & Metallica,
The Doobie Brothers,
The Sisters of Mercy,
Interpol,
Donald Byrd,
Swell Maps,
CMW,
De La Soul & Jungle Brothers,
David McCallum,
Leonard Cohen,
Siglo XX,
Roy Ayers Ubiquity,
Andrew Ashong & Theo Parrish,
Deepchord, Deepchord, Deepchord, Deepchord.
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.