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 Sri Lanka and from Beijing.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1979.
I'm losing my edge.
To all the kids in London and Toronto.
I'm losing my edge to the art-school Cairo 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 808 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 Ituana to the techno kids.
I played it at the Hacienda.
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 Germs. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every Siglo XX record on German import.
I heard that you have a white label of every seminal jazz 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 harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim 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?
Das Ding,
Joey Negro,
Tom Boy,
Pete Rock & C.L. Smooth,
Minny Pops,
James White and The Blacks,
Mark Hollis,
the Sonics,
Ituana,
Radio Birdman,
Traffic Nightmare,
Selector Dub Narcotic,
Graham Central Station,
Eden Ahbez,
Electric Light Orchestra,
Agitation Free,
Intrusion,
Arab on Radar,
Stereo Dub,
Chris Corsano,
Deutsch Amerikanische Freundschaft,
T.S.O.L.,
Kayak,
Nik Kershaw,
Fluxion,
Scientists,
B.T. Express,
Jacob Miller,
Tears for Fears,
Vainqueur,
Bobby Womack,
Adolescents,
X-101,
Scott Walker,
Buzzcocks,
Unrelated Segments,
Chrome,
Derrick May,
Gary Puckett & The Union Gap,
Gil Scott-Heron and Jamie xx,
Judy Mowatt,
The Gladiators,
Dorothy Ashby,
Black Sheep,
a-ha,
Mo-Dettes,
Ice-T,
Connie Case,
The Mummies,
In Retrospect,
The Shadows of Knight,
Grey Daturas,
Saccharine Trust,
The Sonics,
The Blackbyrds,
Royal Trux,
Joensuu 1685,
Lou Christie,
Yazoo,
Thee Headcoats,
Henry Cow,
Vladislav Delay,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.