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 Ghana and from Delhi.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Bologna and Jakarta.
I'm losing my edge to the art-school Hong Kong 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Rakim to the disco kids.
I played it at the Spitz.
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 Von Mondo. All the underground hits.
All Lafayette Afro Rock Band tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Ohio Players record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
Panda Bear,
Joe Smooth,
Eddi Front,
Sugar Minott,
Josef K,
Soft Machine,
De La Soul & Jungle Brothers,
Curtis Mayfield,
Fat Boys,
Slave,
DJ Style,
The Selecter,
The Dave Clark Five,
the Association,
Lyres,
A Flock of Seagulls,
Ten City,
Jerry's Kids,
Deakin,
Ohio Players,
Roxette,
Joyce Sims,
Dawn Penn,
Orchestral Manoeuvres in the Dark,
Lucky Dragons,
Siglo XX,
China Crisis,
The Walker Brothers,
Radiopuhelimet,
Major Organ And The Adding Machine,
Arcadia,
the Slits,
The Gun Club,
Theoretical Girls,
The Durutti Column,
Kayak,
10cc,
Fugazi,
Average White Band,
The Flesh Eaters,
Public Enemy,
Charles Mingus,
Roxy Music,
The J.B.'s,
X-102,
Scientists,
John Cale,
Make Up,
AZ,
Nils Olav,
The Pretty Things,
The United States of America,
ABBA,
Ultimate Spinach,
Danielle Patucci,
Sonic Youth,
Negative Approach,
Liaisons Dangereuses,
The Residents,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.