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 Panama and from Spokane.
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 1972.
I'm losing my edge.
To all the kids in Halifax and Salvador.
I'm losing my edge to the art-school Toronto 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 arpeggiator 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 Spoonie Gee to the crunk 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 Harmonia. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Rhythm & Sound record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang on a Can All-Stars,
The Smoke,
Lou Reed,
The Birthday Party,
Dorothy Ashby,
The Grass Roots,
Sarah Menescal,
Bluetip,
Easy Going,
Be Bop Deluxe,
The Chocolate Watch Band,
Ossler,
Rakim,
Newcleus,
Kaleidoscope,
Quantec,
Soft Cell,
Brand Nubian,
The Monochrome Set,
Das Ding,
X-101,
Ronan,
Joyce Sims,
Alice Coltrane,
Laurel Aitken,
China Crisis,
Jimmy McGriff,
Marc Romboy vs. Booka Shade,
Crispy Ambulance,
Can,
Y Pants,
Spoonie Gee,
Deadbeat,
Grauzone,
Swans,
Tom Boy,
Gastr Del Sol,
Urselle,
The Real Kids,
Lucky Dragons,
Kango’s Stein Massive,
Boredoms,
Bush Tetras,
Skarface,
ABBA,
The Evens,
Robert Hood,
Bootsy's Rubber Band,
Gil Scott Heron,
Pylon,
Kayak,
The Blackbyrds,
Q and Not U,
Oblivians,
Anakelly,
Sight & Sound,
The Royal Family And The Poor,
Big Daddy Kane,
Ronnie Foster,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.