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 New Zealand and from Stockholm.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Lagos and Woodstock.
I'm losing my edge to the art-school Sao Paulo 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 H. Thieme to the dance kids.
I played it at the 40 Watt.
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 The Zeros. All the underground hits.
All Symarip tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal rap 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 harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Whodini,
Davy DMX,
Tim Buckley,
Soft Machine,
Television,
The Gories,
Throbbing Gristle,
Siouxsie and the Banshees,
Quantec,
Brick,
Audionom,
A Flock of Seagulls,
Rekid,
The Flesh Eaters,
Super Lover Cee & Casanova Rud,
Spandau Ballet,
Zero Boys,
Smog,
Pantytec,
Fluxion,
The Sonics,
Camouflage,
Al Stewart,
Piero Umiliani,
Roxette,
The Music Machine,
Stockholm Monsters,
Jimmy McGriff,
The Pretty Things,
Gang of Four,
the Fania All-Stars,
Terror Squad Feat. Camron,
Frankie Knuckles,
The Fuzztones,
Susan Cadogan,
The Birthday Party,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Kurtis Blow,
Ponytail,
Skaos,
cv313,
Ice-T,
Byron Stingily,
Aloha Tigers,
The Happenings,
Talk Talk,
Connie Case,
Barrington Levy,
Absolute Body Control,
Gregory Isaacs,
Lindisfarne,
Max Romeo,
Drive Like Jehu,
Half Japanese,
June Days,
The Tremeloes,
Jacob Miller,
Sarah Menescal,
Josef K,
Minnie Riperton,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.