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 Mauritania and from Lagos.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Columbus.
I'm losing my edge to the art-school Salvador 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 1984 at the first Arcadia practice in a loft in London.
I was working on the guitar sounds with much patience.
I was there when Holger Czukay 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 Roy Ayers to the grunge kids.
I played it at the Hacienda.
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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every Althea and Donna record on German import.
I heard that you have a white label of every seminal crunk 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 an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Echospace record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
Peter & Gordon,
Camberwell Now,
Iggy Pop,
Dual Sessions,
Tubeway Army,
Ronnie Foster,
The Sound,
Derrick Morgan,
Scan 7,
Neu!,
Kas Product,
Todd Terry,
Grandmaster Flash,
Scott Walker,
Rekid,
Max Romeo,
The Flesh Eaters,
Little Man,
Deadbeat,
London Community Gospel Choir,
Stiv Bators,
Pagans,
Judy Mowatt,
Art Ensemble Of Chicago,
Tomorrow,
Chris & Cosey,
Depeche Mode,
Yellowson,
John Lydon,
Bootsy's Rubber Band,
The Dirtbombs,
Joe Smooth,
Skriet,
Electric Light Orchestra,
Bobby Sherman,
Siouxsie and the Banshees,
the Fania All-Stars,
Gian Franco Pienzio,
Television,
The United States of America,
Maurizio,
The Divine Comedy,
Grandmaster Flash and the Furious Five,
Graham Central Station,
Model 500,
Barry Ungar,
Pharaoh Sanders and the Fire Engines,
Second Layer,
Harmonia,
Blancmange,
Ash Ra Tempel,
The Sisters of Mercy,
Morten Harket,
The Golliwogs,
The Motions,
Be Bop Deluxe,
Reuben Wilson,
Fort Wilson Riot,
New York Dolls,
Sound Behaviour,
A Certain Ratio,
Isaac Hayes,
Flash Fearless,
Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes.
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.