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 Milan.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Bremen and Milan.
I'm losing my edge to the art-school Manila 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 Nile Rodgers 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 Happenings to the techno kids.
I played it at CBGB's.
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 Fania All-Stars. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Jandek record on German import.
I heard that you have a white label of every seminal rap 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 clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
Gerry Rafferty,
Brand Nubian,
Camron Feat. Jay Z And Juelz,
Mr. Review,
Delon & Dalcan,
The West Coast Pop Art Experimental Band,
UT,
Flipper,
The Gladiators,
Bang On A Can,
Spoonie Gee,
John Holt,
Excepter,
Country Joe & The Fish,
Royal Trux,
Lonnie Liston Smith,
Grandmaster Flash and the Furious Five,
Crispian St. Peters,
Ludus,
Desert Stars,
Public Image Ltd.,
Don Cherry,
Lindisfarne,
The Gun Club,
Jeff Mills,
Boz Scaggs,
Ronnie Foster,
kango's stein massive,
The Evens,
Wire,
Inner City,
Fear,
The Techniques,
ABBA,
Main Source,
Sister Nancy,
The Standells,
Malaria!,
X-102,
Bad Manners,
Sad Lovers and Giants,
Essential Logic,
London Community Gospel Choir,
Lucky Dragons,
Tubeway Army,
The Mojo Men,
Hot Snakes,
Monolake,
Crispy Ambulance,
Gichy Dan,
The Offenders,
Nick Fraelich,
The Wake,
Strawberry Alarm Clock,
Siglo XX,
Morten Harket,
Amon Düül,
Connie Case,
Reuben Wilson,
Black Flag,
The Mummies, The Mummies, The Mummies, The Mummies.
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.