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 Belgium and from Shanghai.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Accra and Beijing.
I'm losing my edge to the art-school Edmonton 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the marimba sounds with much patience.
I was there when Donald Fagen 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 These Immortal Souls to the jazz 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 Blancmange. All the underground hits.
All Oppenheimer Analysis tracks. I heard you have a vinyl of every Newcleus 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 '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
Camron Feat. Memphis Bleek And Beenie Seigel,
David Axelrod,
Babytalk,
Warsaw,
Joensuu 1685,
Major Organ And The Adding Machine,
Boredoms,
Livin' Joy,
Pharoah Sanders,
The Velvet Underground,
Yazoo,
Royal Trux,
Mo-Dettes,
Flipper,
James Chance & The Contortions,
Jimmy McGriff,
Simply Red,
Infiniti,
Laurel Aitken,
Robert Görl,
Soul Sonic Force,
Gil Scott-Heron and Jamie xx,
Talk Talk,
New Age Steppers,
Gian Franco Pienzio,
Audionom,
Mission of Burma,
World's Most,
Juan Atkins,
Fear,
Ponytail,
The Cramps,
Joy Division,
Goldenarms,
The Misunderstood,
ABC,
Hardrive,
Lower 48,
Marmalade,
Mark Hollis,
CMW,
The Buckinghams,
The Star Department,
Roxy Music,
The Zeros,
Excepter,
Blancmange,
Fela Kuti,
Whodini,
The American Breed,
the Association,
K-Klass,
The Smiths,
A Flock of Seagulls,
Swell Maps,
The Gories,
U.S. Maple,
the Fania All-Stars,
Crime,
The Happenings, The Happenings, The Happenings, The Happenings.
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.