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 Monaco 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 1962 to 1973.
I'm losing my edge.
To all the kids in Bremen and Sao Paulo.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 Bootsy's Rubber Band to the punk 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 Crash Course in Science. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Tomorrow 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 '70s cut and another box set from the '90s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Wolf Eyes record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Con Funk Shun,
A Certain Ratio,
Gil Scott-Heron & Brian Jackson,
Visionaries,LMNO, T- Love & Iriscience,
Warren Ellis,
Thompson Twins,
The Wake,
Flipper,
Marshall Jefferson,
Alice Coltrane,
Jacob Miller,
Andrew Hill,
Bang on a Can All-Stars,
Major Organ And The Adding Machine,
Gang Starr,
Suburban Knight,
Moby Grape,
David Bowie,
Cameo,
Newcleus,
Dual Sessions,
Rahsaan Roland Kirk,
Hashim,
Big Daddy Kane,
New York Dolls,
Bauhaus,
Iggy Pop,
Max Romeo,
The Walker Brothers,
Desert Stars,
Davy DMX,
The Human League,
Sister Nancy,
Kool Moe Dee,
Todd Terry,
Bobby Byrd,
Rhythm & Sound,
Junior Murvin,
Wally Richardson,
Jawbox,
Gil Scott Heron,
X-101,
The Fall,
Yazoo,
The Standells,
Eden Ahbez,
Das Ding,
Gichy Dan,
D'Angelo,
Funky Four + One,
The Grass Roots,
Pere Ubu,
Pylon,
Henry Cow,
Lou Reed & Metallica,
Chrome,
Josef K,
Lalo Schifrin,
Public Image Ltd.,
Saccharine Trust,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.