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 Senegal and from Shanghai.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Bremen and Manchester.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the linndrum sounds with much patience.
I was there when Donald Fagen 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 Smiths to the grime kids.
I played it at the Roxy.
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 Marmalade. All the underground hits.
All Minutemen tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Rundgren,
Bobby Hutcherson,
Susan Cadogan,
Ultra Naté,
Brick,
Kings Of Tomorrow,
Cecil Taylor,
Kool G Rap & DJ Polo,
Surgeon,
Index,
F. McDonald,
Neil Young & Crazy Horse,
Alice Coltrane,
Joyce Sims,
Lucky Dragons,
Silicon Teens,
Lalann,
Kango’s Stein Massive,
Rotary Connection,
Joe Finger,
Don Cherry,
Glambeats Corp.,
Black Pus,
Magazine,
Robert Wyatt,
The Happenings,
The Skatalites,
Motorama,
Jandek,
It's A Beautiful Day,
Clear Light,
Magma,
The Detroit Cobras,
The Gun Club,
Soul II Soul,
The Royal Family And The Poor,
Kurtis Blow,
The Trojans,
Soft Cell,
Delon & Dalcan,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Radiohead,
Von Mondo,
Bill Near,
Goldenarms,
Can,
Marshall Jefferson,
Supertramp,
Infiniti,
Cheater Slicks,
Hashim,
Althea and Donna,
X-101,
Drexciya,
Flash Fearless,
Saccharine Trust,
Wire,
The Offenders,
Sparks,
Richard Hell and the Voidoids,
Kevin Saunderson,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.