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 Chad and from Manila.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Cairo and Woodstock.
I'm losing my edge to the art-school Lille 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 marimba sounds with much patience.
I was there when David Bowie 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 Max Romeo to the funk kids.
I played it at the Roxy.
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 Eve St. Jones. All the underground hits.
All Teenage Jesus and the Jerks tracks. I heard you have a vinyl of every Soul II Soul record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Das Ding,
cv313,
The Slackers,
Soft Machine,
Shoche,
Pharaoh Sanders and the Fire Engines,
DNA,
Infiniti,
Television,
Lou Reed & John Cale,
Excepter,
Soulsonic Force,
Marine Girls,
MC5,
Kevin Saunderson,
X-102,
Susan Cadogan,
Sarah Menescal,
Larry & the Blue Notes,
The Doors,
Sam Rivers,
Magazine,
Ponytail,
The Monks,
Jerry's Kids,
Sly & The Family Stone,
The Dead C,
Lou Reed,
X-Ray Spex,
Ten City,
Orchestral Manoeuvres in the Dark,
Unrelated Segments,
Joy Division,
Ohio Players,
Super Lover Cee & Casanova Rud,
Andrew Hill,
Sound Behaviour,
Little Man,
Freddie Wadling,
Eric Dolphy,
Barry Ungar,
The Royal Family And The Poor,
Motorama,
Ludus,
Wire,
Magma,
Lou Reed & Metallica,
The Gories,
The Names,
Aural Exciters,
Jandek,
Kaleidoscope,
The Victims,
The Mojo Men,
Letta Mbulu,
Tom Boy,
Sparks,
Gil Scott-Heron and Jamie xx,
Icehouse,
Judy Mowatt,
Derrick Morgan,
Skarface, Skarface, Skarface, Skarface.
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.