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 Brazil and from Lille.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Madrid and Paris.
I'm losing my edge to the art-school Woodstock 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 1977 at the first Human League practice in a loft in Sheffield.
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 Selector Dub Narcotic to the techno kids.
I played it at the Spitz.
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 Siglo XX. All the underground hits.
All The Slits tracks. I heard you have a vinyl of every Kevin Saunderson record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Can,
Liliput,
Bizarre Inc.,
Talk Talk,
The Happenings,
Ultravox,
Neil Young & Crazy Horse,
Deepchord,
Marvin Gaye,
Shuggie Otis,
The Music Machine,
Andrew Ashong & Theo Parrish,
Yazoo,
Subhumans,
Neil Young,
Crash Course in Science,
Junior Murvin,
Patti Smith,
Rhythm & Sound,
Scrapy,
The Royal Family And The Poor,
Infiniti,
Jeff Mills,
The Doobie Brothers,
The Zeros,
Steve Hackett,
Lou Christie,
Pole,
the Normal,
Don Cherry,
The Fugs,
Rakim,
Dead Boys,
The Raincoats,
Wire,
Henry Cow,
Reagan Youth,
X-Ray Spex,
Liaisons Dangereuses,
John Lydon,
The Fire Engines,
The Victims,
Deakin,
Fluxion,
Dorothy Ashby,
Sister Nancy,
Eden Ahbez,
Television,
Pere Ubu,
Soft Cell,
In Retrospect,
Essential Logic,
The Gladiators,
Moebius,
Quadrant,
New Age Steppers,
Mary Jane Girls,
Vainqueur,
The Skatalites,
kango's stein massive,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.