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 Sudan and from London.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Beijing and Madrid.
I'm losing my edge to the art-school Jakarta 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Moody Blues 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 Hoover. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Underground Resistance record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Fugs record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
Jacques Brel,
The Zeros,
Kauko Röyhkä ja Narttu,
Slick Rick,
Pierre Henry,
The Pretty Things,
The Residents,
Ronan,
Scientists,
Q65,
Easy Going,
Bobby Hutcherson,
The Birthday Party,
Sun City Girls,
The Real Kids,
Franke,
Soft Cell,
Gil Scott Heron,
New Order,
Kings Of Tomorrow,
Pharoah Sanders,
Barclay James Harvest,
Nick Cave & The Bad Seeds,
John Holt,
F. McDonald,
Dual Sessions,
Ituana,
L. Decosne,
Livin' Joy,
Quantec,
The Slits,
E-Dancer,
Leonard Cohen,
Inner City,
Man Parrish,
Tubeway Army,
Gil Scott-Heron and Jamie xx,
Maleditus Sound,
Animal Collective,
Robert Görl,
Lalo Schifrin,
Delon & Dalcan,
Schoolly D,
Sun Ra Arkestra,
Sad Lovers and Giants,
Dawn Penn,
Pere Ubu,
Arthur Verocai,
The Golliwogs,
Nation of Ulysses,
The Smiths,
Yellowson,
Neil Young,
Laurel Aitken,
Make Up,
Joyce Sims,
B.T. Express,
Groovy Waters,
Howard Jones,
Lee Hazlewood,
Eurythmics,
Goldenarms,
EPMD, EPMD, EPMD, EPMD.
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.