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 Algeria and from Toronto.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Bremen.
I'm losing my edge to the art-school Lagos 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 1976 at the first Wire practice in a loft in Watford.
I was working on the chamberlin 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 Davy DMX to the grime 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 Marine Girls. All the underground hits.
All FM Einheit tracks. I heard you have a vinyl of every Kerrie Biddell record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Marc Romboy vs. Booka Shade record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barry Ungar,
Michelle Simonal,
Angels of Light & Akron/Family,
Scientists,
Brick,
Neil Young & Crazy Horse,
Gil Scott-Heron and Jamie xx,
These Immortal Souls,
Notorious BIG live in Amsterdam,
Loose Ends,
Procol Harum,
F. McDonald,
Peter and Kerry,
The Music Machine,
Nick Fraelich,
Basic Channel,
Ultravox,
Jeru the Damaja,
The Vogues,
Black Sheep,
Peter Gordon & Love of Life Orchestra,
One Last Wish,
Gil Scott-Heron & Brian Jackson,
Eurythmics,
The Fortunes,
Alison Limerick,
Sugar Minott,
Sun Ra Arkestra,
Patti Smith,
Thee Headcoats,
Surgeon,
Ituana,
Eric Copeland,
Dual Sessions,
Derrick May,
Public Image Ltd.,
Thompson Twins,
Joe Finger,
Fat Boys,
Joensuu 1685,
The Blackbyrds,
Depeche Mode,
Bobby Womack,
Fela Kuti,
The Invisible,
La Düsseldorf,
Lalann,
Roxette,
Jesper Dahlback,
The Beau Brummels,
The Mummies,
David Axelrod,
Pole,
The Mojo Men,
UT,
Yaz,
The Smiths,
Black Flag,
Sandy B,
London Community Gospel Choir,
Bobby Hutcherson,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.