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 Bremen.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Salvador and Paris.
I'm losing my edge to the art-school Seoul 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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes 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 The Doors to the disco 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 The Residents. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Sticky Fingaz feat. Raekwon record on German import.
I heard that you have a white label of every seminal dance 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 marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Magma record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hot Snakes,
Joe Smooth,
Big Daddy Kane,
The United States of America,
Swell Maps,
Organ,
Country Teasers,
Art Ensemble Of Chicago,
The Zeros,
John Foxx,
Skaos,
Bobby Byrd,
This Heat,
Suburban Knight,
Rhythm & Sound,
Sound Behaviour,
Blake Baxter,
The Golliwogs,
Surgeon,
Röyhkä ja Rättö ja Lehtisalo,
Sonic Youth,
Byron Stingily,
Teenage Jesus and the Jerks,
Carl Craig,
Vladislav Delay,
The Trojans,
Michelle Simonal,
One Last Wish,
Absolute Body Control,
Davy DMX,
F. McDonald,
Rhythim Is Rhythim,
Wally Richardson,
Ornette Coleman,
Johnny Clarke,
Alton Ellis,
Moby Grape,
The Count Five,
Kurtis Blow,
Eric Copeland,
Pete Rock & C.L. Smooth,
Donald Byrd,
The Smoke,
Japan,
Supertramp,
Siouxsie and the Banshees,
Von Mondo,
Sugar Minott,
Technova,
Super Lover Cee & Casanova Rud,
Cameo,
Black Bananas,
The Gap Band,
Lucky Dragons,
Easy Going,
Henry Cow,
Hardrive,
Lindisfarne,
Negative Approach,
Khruangbin,
Lalann,
Buzzcocks,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.