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 Barbados and from Bremen.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1978.
I'm losing my edge.
To all the kids in Cairo and Lagos.
I'm losing my edge to the art-school Beijing 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 The Index to the crunk 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 Idris Muhammad. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Eric Dolphy record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
Monolake,
Ten City,
David McCallum,
Ultra Naté,
X-102,
Pylon,
The Smiths,
Motorama,
Nation of Ulysses,
Intrusion,
John Cale,
Lou Reed & Metallica,
Model 500,
Slave,
Alice Coltrane,
Jacques Brel,
Adolescents,
The Litter,
The Toasters,
Eve St. Jones,
Q and Not U,
AZ,
Eden Ahbez,
Sugar Minott,
Liaisons Dangereuses,
The Grass Roots,
Gang Starr,
Delon & Dalcan,
Eurythmics,
Tim Buckley,
Peter & Gordon,
Scott Walker,
The Move,
The Standells,
Rowland S Howard / Lydia Lunch,
Barclay James Harvest,
Bobby Hutcherson,
Magma,
Section 25,
The Offenders,
E-Dancer,
Ponytail,
The Cure,
The Misunderstood,
Yaz,
Colin Newman,
The J.B.'s,
Bobby Sherman,
ABBA,
Camouflage,
The Dead C,
The Sisters of Mercy,
Quantec,
Maleditus Sound,
Arab on Radar,
DNA,
The Sound,
Y Pants,
Rufus Thomas,
The Mummies,
Groovy Waters, Groovy Waters, Groovy Waters, Groovy Waters.
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.