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 Guatemala 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 1968 to 1975.
I'm losing my edge.
To all the kids in Delhi and Johannesburg.
I'm losing my edge to the art-school Manchester 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the harpsichord 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 Scratch Acid to the rock kids.
I played it at the Astoria.
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 Public Enemy. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every Con Funk Shun 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 '80s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
Kauko Röyhkä ja Narttu,
Joensuu 1685,
The Monochrome Set,
MDC,
Rufus Thomas,
The Dirtbombs,
The Smoke,
Crispian St. Peters,
Simply Red,
The Mummies,
Carl Craig,
Ludus,
Con Funk Shun,
Funky Four + One,
Jacques Brel,
The Fire Engines,
EPMD,
Brass Construction,
Urselle,
Kas Product,
Hoover,
Wasted Youth,
Ossler,
Aural Exciters,
Visage,
Make Up,
Bauhaus,
Pole,
Freddie Wadling,
Lee Hazlewood,
Fat Boys,
Severed Heads,
Royal Trux,
The Smiths,
Junior Murvin,
Vaughan Mason & Crew,
Dead Boys,
Technova,
Duran Duran,
Siglo XX,
Bobby Sherman,
Depeche Mode,
Roy Ayers,
Black Bananas,
Suburban Knight,
Kool G Rap & DJ Polo,
Justin Hinds & The Dominoes,
Roxette,
Moss Icon,
Mo-Dettes,
The Sound,
Peter and Kerry,
Country Joe & The Fish,
Tim Buckley,
Fear,
Alison Limerick,
Massinfluence,
New Order,
Jacob Miller,
Gichy Dan,
Shoche,
Warsaw,
Derrick May, Derrick May, Derrick May, Derrick May.
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.