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 Finland and from Tehran.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Winnipeg and Shanghai.
I'm losing my edge to the art-school Manchester 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 clarinet 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 Flesh Eaters to the rap kids.
I played it at Cafe Wha.
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 Radiohead. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Leonard Cohen 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 '50s cut and another box set from the '80s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
EPMD,
June Days,
The J.B.'s,
Section 25,
Joensuu 1685,
Jacques Brel,
Lower 48,
Heaven 17,
Godley & Creme,
Public Image Ltd.,
Ludus,
Radio Birdman,
Masters at Work,
The Fugs,
Hoover,
Pharaoh Sanders and the Fire Engines,
Jeff Lynne,
Alison Limerick,
Little Man,
The Beau Brummels,
Arab on Radar,
Rufus Thomas,
Moby Grape,
Johnny Osbourne,
Silicon Teens,
Nas,
Throbbing Gristle,
Niagra,
Oblivians,
Moss Icon,
It's A Beautiful Day,
James White and The Blacks,
Hashim,
The Mojo Men,
Girls At Our Best!,
John Cale,
Sandy B,
Dennis Brown,
Gerry Rafferty,
Brothers Johnson,
The West Coast Pop Art Experimental Band,
Eden Ahbez,
Althea and Donna,
Bizarre Inc.,
Donald Byrd,
Q65,
Aswad,
Susan Cadogan,
Harry Pussy,
Skriet,
Jesper Dahlbäck,
Neu!,
Monolake,
Grandmaster Flash and the Furious Five,
The Royal Family And The Poor,
Darondo,
Sun Ra,
Reagan Youth,
The Mighty Diamonds,
Talk Talk,
Tropical Tobacco,
Marcia Griffiths,
Carl Craig, Carl Craig, Carl Craig, Carl Craig.
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.