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 Luxembourg and from Bologna.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Bremen and Winnipeg.
I'm losing my edge to the art-school New York 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the marimba 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 Essential Logic to the electroclash 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 Shuggie Otis. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every The Fugs record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
Swans,
Eden Ahbez,
Gastr Del Sol,
Black Sheep,
Gregory Isaacs,
Nas,
X-Ray Spex,
ABC,
Roy Ayers,
Animal Collective,
Eric B and Rakim,
Aural Exciters,
Wally Richardson,
Icehouse,
Crash Course in Science,
David McCallum,
Wighnomy Brothers & Robag Wruhme,
Amon Düül II,
Rotary Connection,
Justin Hinds & The Dominoes,
Siouxsie and the Banshees,
Heavy D & The Boyz,
Eve St. Jones,
Technova,
The J.B.'s,
Crispy Ambulance,
Cameo,
Ice-T,
Radiopuhelimet,
The Beau Brummels,
Outsiders,
Glambeats Corp.,
Oppenheimer Analysis,
Au Pairs,
Cabaret Voltaire,
Lyres,
The Invisible,
A Flock of Seagulls,
Sun Ra,
The Names,
The United States of America,
June Days,
Anthony Braxton,
The Raincoats,
Delon & Dalcan,
Fort Wilson Riot,
Sun Ra Arkestra,
Roxette,
The Standells,
Notorious Big And Bone Thugs,
Grandmaster Flash and the Furious Five,
Interpol,
Flash Fearless,
Gabor Szabo,
Robert Hood,
Andrew Hill,
Kenny Larkin,
Jimmy McGriff,
Depeche Mode,
Slave,
Thompson Twins,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.