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 Nicaragua and from Glasgow.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1974.
I'm losing my edge.
To all the kids in Mexico City and Tokyo.
I'm losing my edge to the art-school Shanghai 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 harpsichord 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 Crash Course in Science to the rap kids.
I played it at Trash.
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 Make Up. All the underground hits.
All Excepter tracks. I heard you have a vinyl of every Faraquet 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
Freddie Wadling,
Grauzone,
The Smiths,
Section 25,
The Doors,
Black Flag,
Scratch Acid,
Scan 7,
Gian Franco Pienzio,
Royal Trux,
The Human League,
Peter & Gordon,
John Coltrane,
New York Dolls,
Nik Kershaw,
Larry & the Blue Notes,
Piero Umiliani,
The Residents,
Eddi Front,
Sun City Girls,
Sonic Youth,
Echo & the Bunnymen,
Harmonia,
The Motions,
Tres Demented,
the Normal,
Gastr Del Sol,
Eric B and Rakim,
Brothers Johnson,
The West Coast Pop Art Experimental Band,
Los Fastidios,
London Community Gospel Choir,
Absolute Body Control,
Agitation Free,
Black Moon,
Warren Ellis,
Drexciya,
Nico,
The Names,
Barclay James Harvest,
Slave,
Model 500,
Cal Tjader,
Arcadia,
Leonard Cohen,
Marcia Griffiths,
The Cosmic Jokers,
Alton Ellis,
Second Layer,
Lafayette Afro Rock Band,
Notorious Big And Bone Thugs,
Severed Heads,
Camberwell Now,
Organ,
Crooked Eye,
Dual Sessions,
Marshall Jefferson,
Bronski Beat,
Bauhaus,
Minny Pops, Minny Pops, Minny Pops, Minny Pops.
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.