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 Nicaragua and from Shanghai.
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 1973.
I'm losing my edge.
To all the kids in Manchester and Jakarta.
I'm losing my edge to the art-school Bremen 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 1978 at the first Visage practice in a loft in London.
I was working on the theremin 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 Drexciya to the grunge 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 One Last Wish. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every UT record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arcadia,
Terrestrial Tones,
The Happenings,
Strawberry Alarm Clock,
A Certain Ratio,
Cabaret Voltaire,
Godley & Creme,
The Star Department,
Nas,
The Kinks,
Neu!,
The Walker Brothers,
Ken Boothe,
The Fall,
Jerry's Kids,
Wasted Youth,
Janne Schatter,
Wally Richardson,
Von Mondo,
Avey Tare's Slasher Flicks,
Red Lorry Yellow Lorry,
PIL,
Slave,
The Pop Group,
Rapeman,
Public Image Ltd.,
Graham Central Station,
Amon Düül II,
a-ha,
Piero Umiliani,
Monolake,
Symarip,
Sandy B,
Albert Ayler,
Be Bop Deluxe,
Blake Baxter,
Ronnie Foster,
The Gladiators,
Bush Tetras,
Aaron Thompson,
The Searchers,
Andrew Ashong & Theo Parrish,
the Sonics,
Marshall Jefferson,
Eric B and Rakim,
Josef K,
Maleditus Sound,
Gang Green,
Michelle Simonal,
Eric Copeland,
Skarface,
Bootsy's Rubber Band,
Gang Starr,
Organ,
Pharaoh Sanders and the Fire Engines,
Kerri Chandler,
Beasts of Bourbon,
Aswad,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Todd Terry,
Black Sheep,
Lyres, Lyres, Lyres, Lyres.
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.