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 Tonga 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 1967 to 1974.
I'm losing my edge.
To all the kids in Columbus and Hong Kong.
I'm losing my edge to the art-school London 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 1979 at the first Second Layer practice in a loft in South London.
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 Gang Starr to the crunk 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 James White and The Blacks. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every Henry Cow 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 '70s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your linndrum and bought an oboe.
I hear that you and your band have sold your oboe and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delon & Dalcan,
Infiniti,
Popol Vuh,
Kurtis Blow,
Byron Stingily,
Cecil Taylor,
Terrestrial Tones,
Scan 7,
Buzzcocks,
The Skatalites,
The Chocolate Watch Band,
Roxette,
Avey Tare,
Oppenheimer Analysis,
Donny Hathaway,
The Moody Blues,
The Doors,
Joensuu 1685,
Steve Hackett,
Cabaret Voltaire,
Yusef Lateef,
Rahsaan Roland Kirk,
Liaisons Dangereuses,
Ohio Players,
Cheater Slicks,
Flash Fearless,
Anakelly,
David Axelrod,
Carl Craig,
Graham Central Station,
The Smoke,
D'Angelo,
Subhumans,
Colin Newman,
Notorious Big And Bone Thugs,
Röyhkä ja Rättö ja Lehtisalo,
Angels of Light & Akron/Family,
Joe Finger,
Icehouse,
Shoche,
Dennis Brown,
Johnny Osbourne,
Deutsch Amerikanische Freundschaft,
Lightning Bolt,
Mark Hollis,
Gabor Szabo,
Circle Jerks,
Ultravox,
The Monochrome Set,
H. Thieme,
Sound Behaviour,
This Heat,
Bizarre Inc.,
Lou Reed & John Cale,
Ajijia Myrayebe,
Isaac Hayes,
Alton Ellis,
Eric Copeland,
Godley & Creme,
Metal Thangz,
Rotary Connection,
Lebanon Hanover,
The Dirtbombs,
Vladislav Delay,
Sparks, Sparks, Sparks, Sparks.
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.