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 Comoros and from Bologna.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Delhi and Cairo.
I'm losing my edge to the art-school Shanghai 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 Michael McDonald 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 Leonard Cohen to the grunge 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 Bootsy Collins. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every Thompson Twins record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Jeff Mills record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
Crispian St. Peters,
Cymande,
London Community Gospel Choir,
Barclay James Harvest,
John Foxx,
Donald Byrd,
Siglo XX,
Grey Daturas,
Teenage Jesus and the Jerks,
The Flesh Eaters,
MDC,
It's A Beautiful Day,
Scratch Acid,
Deutsch Amerikanische Freundschaft,
Newcleus,
The Doors,
Gil Scott Heron,
ABC,
Jeff Lynne,
Alphaville,
Toni Rubio,
Skriet,
Ralphi Rosario,
Don Cherry,
Godley & Creme,
The Vogues,
Brothers Johnson,
The Count Five,
Nils Olav,
Blancmange,
The Dirtbombs,
Kevin Saunderson,
Pagans,
Mary Jane Girls,
Joe Smooth,
John Holt,
Nation of Ulysses,
Derrick May,
Quando Quango,
Richard Hell and the Voidoids,
Lalann,
Symarip,
Jesper Dahlbäck,
Mars,
Cheater Slicks,
Kerrie Biddell,
Donny Hathaway,
Malaria!,
Davy DMX,
David Bowie,
Camberwell Now,
Shoche,
Guru Guru,
T.S.O.L.,
Tubeway Army,
Smog,
The Fire Engines,
The Mojo Men,
The Move,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.