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 Vanuatu and from Houston.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Shanghai.
I'm losing my edge to the art-school Madrid 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the oboe 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 Be Bop Deluxe to the electroclash kids.
I played it at Cafe Wha.
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 Curtis Mayfield. All the underground hits.
All Reuben Wilson tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Fat Boys record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Eating Sloth,
Eve St. Jones,
Barclay James Harvest,
The J.B.'s,
X-Ray Spex,
Q and Not U,
Erykah Badu,
Rapeman,
Sun Ra Arkestra,
Curtis Mayfield,
Oneida,
The United States of America,
Be Bop Deluxe,
the Soft Cell,
Liliput,
Rufus Thomas,
Roxy Music,
Pantaleimon,
This Heat,
The Human League,
The Trojans,
Tres Demented,
La Düsseldorf,
Kaleidoscope,
Soul Sonic Force,
Sound Behaviour,
Banda Bassotti,
Bobby Sherman,
Television,
Charles Mingus,
Kool G Rap & DJ Polo,
The Barracudas,
10cc,
Swans,
The Happenings,
The Monks,
Smog,
Sarah Menescal,
Kenny Larkin,
Althea and Donna,
E-Dancer,
Gregory Isaacs,
the Slits,
Sunsets and Hearts,
Jerry Gold Smith,
Supertramp,
F. McDonald,
The Blackbyrds,
Josef K,
Bizarre Inc.,
AZ,
Kool Moe Dee,
Cal Tjader,
Nation of Ulysses,
Fort Wilson Riot,
Radiopuhelimet,
Super Lover Cee & Casanova Rud,
Godley & Creme,
Easy Going,
Chris & Cosey, Chris & Cosey, Chris & Cosey, Chris & Cosey.
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.