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 Philippines and from Madrid.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Halifax and Beijing.
I'm losing my edge to the art-school Lille 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Soft Machine to the grime kids.
I played it at CBGB's.
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 Sonics. All the underground hits.
All Camron Feat. Memphis Bleek And Beenie Seigel tracks. I heard you have a vinyl of every Soft Machine 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Moebius record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marshall Jefferson,
Dorothy Ashby,
Joe Finger,
Soft Cell,
Gil Scott-Heron and Jamie xx,
Parry Music,
Qualms,
Chris & Cosey,
Alphaville,
Bauhaus,
Grey Daturas,
Anthony Braxton,
Derrick May,
Johnny Osbourne,
Sight & Sound,
Brass Construction,
Wings,
Darondo,
Soulsonic Force,
Soft Machine,
Sam Rivers,
Aural Exciters,
Flipper,
The Walker Brothers,
Visionaries,LMNO, T- Love & Iriscience,
Camouflage,
Ronan,
Gary Puckett & The Union Gap,
Monks,
Jacob Miller,
David McCallum,
Das Ding,
Infiniti,
Lower 48,
James Chance & The Contortions,
Sonny Sharrock,
Mary Jane Girls,
Röyhkä ja Rättö ja Lehtisalo,
Ajijia Myrayebe,
Cybotron,
Camberwell Now,
Pharaoh Sanders and the Fire Engines,
Angry Samoans,
Y Pants,
Country Joe & The Fish,
Wasted Youth,
The Gladiators,
Robert Wyatt,
Spoonie Gee,
Electric Prunes,
Notorious BIG live in Amsterdam,
Quadrant,
Beasts of Bourbon,
Fela Kuti,
The Red Krayola,
Barrington Levy,
The Last Poets,
The Happenings,
Amon Düül,
Trumans Water,
Joy Division,
Soul II Soul,
The United States of America, The United States of America, The United States of America, The United States of America.
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.