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 Equatorial Guinea and from Tokyo.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Toronto.
I'm losing my edge to the art-school Lagos 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 1983 at the first Lewis practice in a loft in Vancouver.
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 T. Rex to the crunk 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 Niagra. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal grime 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 spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
Saccharine Trust,
Radio Birdman,
Nas,
Stereo Dub,
Mars,
Marvin Gaye,
Altered Images,
Theoretical Girls,
Lou Reed & Metallica,
Lungfish,
Boredoms,
The Fortunes,
Dennis Brown,
Tubeway Army,
Sonic Youth,
The Pop Group,
Rhythm & Sound,
The Black Dice,
Rosa Yemen,
Alice Coltrane,
Davy DMX,
Lee Hazlewood,
Severed Heads,
Gerry Rafferty,
Q65,
Monolake,
Kerri Chandler,
A Flock of Seagulls,
Funky Four + One,
The Monochrome Set,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Pere Ubu,
Camberwell Now,
Harmonia,
Moebius,
Justin Hinds & The Dominoes,
Bobbi Humphrey,
Royal Trux,
Half Japanese,
Gabor Szabo,
X-102,
H. Thieme,
Subhumans,
The Durutti Column,
Boogie Down Productions,
Organ,
the Sonics,
Japan,
Charles Mingus,
Jacob Miller,
The Moody Blues,
Bush Tetras,
Heaven 17,
Cabaret Voltaire,
Simply Red,
Skaos,
DJ Sneak,
Sarah Menescal,
Jeff Lynne,
X-101,
Can, Can, Can, Can.
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.