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 Colombia and from Mumbai.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Salvador and Milan.
I'm losing my edge to the art-school Accra 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 AZ to the electroclash kids.
I played it at the Roxy.
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 Blake Baxter. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every Underground Resistance 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 '60s cut and another box set from the '90s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Oneida,
The Dead C,
John Coltrane,
Graham Central Station,
Minnie Riperton,
LL Cool J,
Marcia Griffiths,
Ultramagnetic MC's,
Minor Threat,
Accadde A,
Jesper Dahlbäck,
The Grass Roots,
the Fania All-Stars,
Peter Gordon & Love of Life Orchestra,
The Buckinghams,
The Music Machine,
Terrestrial Tones,
Lou Reed & John Cale,
Goldenarms,
Rakim,
Eli Mardock,
Howard Jones,
Interpol,
Massinfluence,
cv313,
Wolf Eyes,
The Five Americans,
Spoonie Gee,
The Blues Magoos,
Nico,
Jacques Brel,
London Community Gospel Choir,
The Tremeloes,
The Birthday Party,
Throbbing Gristle,
It's A Beautiful Day,
New Age Steppers,
The Young Rascals,
Colin Newman,
The Gories,
MC5,
Grey Daturas,
Roy Ayers Ubiquity,
Nik Kershaw,
New Order,
Oppenheimer Analysis,
the Soft Cell,
Brothers Johnson,
The Count Five,
The Fuzztones,
Steve Hackett,
Black Bananas,
The Pop Group,
Sight & Sound,
Sun Ra,
Laurel Aitken,
Cal Tjader,
Urselle,
FM Einheit, FM Einheit, FM Einheit, FM Einheit.
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.