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 Congo and from Beijing.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1975.
I'm losing my edge.
To all the kids in Calgary and Jakarta.
I'm losing my edge to the art-school Madrid 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 arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Dawn Penn to the crunk kids.
I played it at Cafe Wha.
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 Dead C. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Starr,
Heavy D & The Boyz,
Camron Feat. Memphis Bleek And Beenie Seigel,
La Düsseldorf,
Freddie Wadling,
Girls At Our Best!,
Be Bop Deluxe,
The Cure,
Stockholm Monsters,
Alison Limerick,
Ohio Players,
Pantytec,
Bobby Hutcherson,
Chris & Cosey,
Magazine,
Throbbing Gristle,
X-Ray Spex,
Bronski Beat,
The Fortunes,
Nils Olav,
Unrelated Segments,
Lightning Bolt,
Crooked Eye,
Rahsaan Roland Kirk,
Ajijia Myrayebe,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Beau Brummels,
The Fugs,
Aswad,
Eric Dolphy,
Maleditus Sound,
Mandrill,
Peter and Kerry,
Cabaret Voltaire,
Eyeless In Gaza,
Con Funk Shun,
The Monks,
Grandmaster Flash,
Rosa Yemen,
the Fania All-Stars,
MC5,
Tommy Roe,
Lafayette Afro Rock Band,
The Gap Band,
Wally Richardson,
Avey Tare,
Popol Vuh,
The Real Kids,
Jeff Mills,
Jeru the Damaja,
the Normal,
Easy Going,
Beasts of Bourbon,
Yazoo,
Shoche,
Fifty Foot Hose,
Public Image Ltd.,
Television,
The Golliwogs,
Mantronix,
Lou Reed,
The Misunderstood,
Bad Manners, Bad Manners, Bad Manners, Bad Manners.
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.