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 Brazil and from Sao Paulo.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Shanghai.
I'm losing my edge to the art-school Bologna 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 Soft Boys practice in a loft in Cambridge.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Swell Maps to the techno kids.
I played it at the 40 Watt.
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 Excepter. All the underground hits.
All Funky Four + One tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Todd Terry record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mission of Burma,
One Last Wish,
the Slits,
the Germs,
Sunsets and Hearts,
The Pretty Things,
Notorious Big And Bone Thugs,
Avey Tare,
Skarface,
Godley & Creme,
London Community Gospel Choir,
Model 500,
The Names,
Masters at Work,
Zapp,
Prince Buster,
Gang of Four,
Chris & Cosey,
Grey Daturas,
Unrelated Segments,
Sly & The Family Stone,
Sun City Girls,
Echospace,
The Durutti Column,
The Peanut Butter Conspiracy,
Ralphi Rosario,
Radio Birdman,
Moss Icon,
Ultravox,
Kaleidoscope,
Scrapy,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Man Parrish,
The Skatalites,
Radiohead,
Wolf Eyes,
Sparks,
The Martian,
The Five Americans,
Scratch Acid,
Country Joe & The Fish,
Sonic Youth,
Be Bop Deluxe,
the Bar-Kays,
Trumans Water,
Pet Shop Boys,
Quantec,
In Retrospect,
New Age Steppers,
Nils Olav,
Anakelly,
The Toasters,
The Smiths,
The Gladiators,
Lindisfarne,
Deutsch Amerikanische Freundschaft,
Hoover,
Black Moon,
8 Eyed Spy,
Pharoah Sanders,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.