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 Namibia 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 1978.
I'm losing my edge.
To all the kids in Salvador and Manchester.
I'm losing my edge to the art-school Sao Paulo 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 1984 at the first Arcadia practice in a loft in London.
I was working on the linndrum 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 Anthony Braxton to the jazz 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 Lou Christie. All the underground hits.
All The Gap Band tracks. I heard you have a vinyl of every Judy Mowatt record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
Echospace,
Pagans,
Basic Channel,
Theoretical Girls,
Liaisons Dangereuses,
Cabaret Voltaire,
The Mojo Men,
Blake Baxter,
Can,
Barrington Levy,
Flipper,
Roxette,
Frankie Knuckles,
The Count Five,
Pantaleimon,
Brand Nubian,
Cecil Taylor,
Boredoms,
Big Daddy Kane,
Joe Finger,
Albert Ayler,
Bang On A Can,
Aswad,
Lou Reed & John Cale,
Colin Newman,
Vainqueur,
Supertramp,
Larry & the Blue Notes,
The Smiths,
Metal Thangz,
Radiopuhelimet,
Dark Day,
Barbara Tucker,
Scion,
Monks,
Junior Murvin,
Drive Like Jehu,
Thinking Fellers Union Local 282,
The Leaves,
Hot Snakes,
Skarface,
Adolescents,
Peter & Gordon,
Rites of Spring,
Sound Behaviour,
Country Teasers,
Man Parrish,
Interpol,
Echo & the Bunnymen,
Infiniti,
The Black Dice,
the Germs,
Visionaries,LMNO, T- Love & Iriscience,
Ludus,
Manfred Mann's Earth Band,
Brass Construction,
Massinfluence,
The Jesus and Mary Chain,
Ken Boothe,
Deutsch Amerikanische Freundschaft,
Japan,
James Chance & The Contortions,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.