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 Belgium and from Lyon.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1960 to 1972.
I'm losing my edge.
To all the kids in New York and Mumbai.
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 808 sounds with much patience.
I was there when Lou Reed 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 Alarm Clocks to the punk kids.
I played it at the Astoria.
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 Brand Nubian. All the underground hits.
All Tropical Tobacco tracks. I heard you have a vinyl of every Deepchord 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Eve St. Jones record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
Nick Fraelich,
Ronnie Foster,
Massinfluence,
Frankie Knuckles,
Ultravox,
The Young Rascals,
Dennis Brown,
The Knickerbockers,
Glambeats Corp.,
The Five Americans,
Ultra Naté,
Bauhaus,
The Slackers,
Arcadia,
The Sound,
ABC,
The Gun Club,
Mo-Dettes,
Section 25,
Lou Reed,
Kerri Chandler,
Can,
Peter & Gordon,
Drexciya,
The Pretty Things,
Hasil Adkins,
Mars,
Ronan,
Harry Pussy,
Peter Gordon & Love of Life Orchestra,
Bill Wells,
Scratch Acid,
The Kinks,
Symarip,
Kauko Röyhkä ja Narttu,
London Community Gospel Choir,
The Mummies,
Gichy Dan,
Cameo,
Quantec,
Davy DMX,
Young Marble Giants,
Roxette,
Depeche Mode,
Sun Ra,
Jerry Gold Smith,
Larry & the Blue Notes,
Lebanon Hanover,
Nas,
The Dirtbombs,
Dave Gahan,
Nation of Ulysses,
Black Moon,
Kool Moe Dee,
It's A Beautiful Day,
Vainqueur,
F. McDonald,
Eden Ahbez,
Dual Sessions,
Basic Channel,
The Martian,
Dark Day, Dark Day, Dark Day, Dark Day.
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.