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 Azerbaijan and from Milan.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Woodstock.
I'm losing my edge to the art-school Tehran 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 theremin 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 Heaven 17 to the techno kids.
I played it at Trash.
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 Heavy D & The Boyz. All the underground hits.
All ABBA tracks. I heard you have a vinyl of every James White and The Blacks 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Ronan record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
Man Parrish,
CMW,
De La Soul & Jungle Brothers,
The Mummies,
Hoover,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
U.S. Maple,
Bill Near,
Rites of Spring,
Ludus,
Fluxion,
London Community Gospel Choir,
Graham Central Station,
Barclay James Harvest,
Soft Machine,
Ohio Players,
Joensuu 1685,
Marcia Griffiths,
Newcleus,
Country Joe & The Fish,
Inner City,
Shuggie Otis,
Amon Düül,
The Evens,
Minutemen,
The Smiths,
The Skatalites,
Adolescents,
Q and Not U,
David McCallum,
Prince Buster,
Fifty Foot Hose,
Lou Reed & Metallica,
Country Teasers,
Harmonia,
UT,
Kevin Saunderson,
Letta Mbulu,
Monolake,
the Soft Cell,
JFA,
Nation of Ulysses,
Ronnie Foster,
Lou Christie,
Pharoah Sanders,
Super Lover Cee & Casanova Rud,
Erykah Badu,
The Wake,
Swell Maps,
The Associates,
Ultramagnetic MC's,
Sun Ra Arkestra,
Isaac Hayes,
Art Ensemble Of Chicago,
LL Cool J,
Andrew Hill,
Maurizio,
Magazine,
The Pop Group,
Althea and Donna,
Todd Rundgren,
Funky Four + One, Funky Four + One, Funky Four + One, Funky Four + One.
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.