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 Rwanda and from Lyon.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Spokane and Lagos.
I'm losing my edge to the art-school Hong Kong 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 rhodes 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 Anthony Braxton to the grime kids.
I played it at the Crocodile.
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 Gil Scott-Heron & Brian Jackson. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every Easy Going record on German import.
I heard that you have a white label of every seminal disco 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 an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
The Vogues,
Duran Duran,
Sunsets and Hearts,
Curtis Mayfield,
The Martian,
Blancmange,
New York Dolls,
Black Flag,
Radio Birdman,
Black Moon,
Harpers Bizarre,
Arcadia,
Teenage Jesus and the Jerks,
The Moody Blues,
Harry Pussy,
Severed Heads,
Angry Samoans,
Quantec,
The Trojans,
X-102,
The Men They Couldn't Hang,
Marcia Griffiths,
Nik Kershaw,
Fela Kuti,
Crispy Ambulance,
F. McDonald,
The New Christs,
The Kinks,
Bizarre Inc.,
Masters at Work,
Marine Girls,
Crooked Eye,
Q65,
Ornette Coleman,
Depeche Mode,
Fear,
Albert Ayler,
Ronan,
Avey Tare,
Kool Moe Dee,
K-Klass,
Black Sheep,
Rotary Connection,
Magazine,
Fat Boys,
Oppenheimer Analysis,
Gong,
The Cosmic Jokers,
Jeru the Damaja,
David Axelrod,
The Skatalites,
Pole,
The Fuzztones,
June Days,
Sparks,
the Germs,
Louis and Bebe Barron,
The Angels of Light,
Talk Talk,
Animal Collective,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.