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 Serbia and from Houston.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Edmonton.
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 808 sounds with much patience.
I was there when David Bowie 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 Radiohead to the grime kids.
I played it at the Spitz.
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 Be Bop Deluxe. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every Anthony Braxton 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
Marc Almond,
Dr. Dre and Snoop Doggy Dog,
The Blues Magoos,
Lou Reed & Metallica,
Jesper Dahlbäck,
Archie Shepp,
Kenny Larkin,
Roy Ayers Ubiquity,
Lebanon Hanover,
Mandrill,
The Dead C,
Piero Umiliani,
OOIOO,
Eden Ahbez,
Brand Nubian,
Idris Muhammad,
Alice Coltrane,
Stockholm Monsters,
Quantec,
Kauko Röyhkä ja Narttu,
Iggy Pop,
48th St. Collective,
Animal Collective,
Sam Rivers,
Lou Reed & John Cale,
Reuben Wilson,
Whodini,
Amon Düül II,
Lou Christie,
Deutsch Amerikanische Freundschaft,
JFA,
Lungfish,
Lafayette Afro Rock Band,
Brass Construction,
Liaisons Dangereuses,
Richard Hell and the Voidoids,
Donald Byrd,
Colin Newman,
Cybotron,
Hoover,
Vaughan Mason & Crew,
Wasted Youth,
Michelle Simonal,
Blake Baxter,
New York Dolls,
Guru Guru,
Zero Boys,
Barrington Levy,
Siglo XX,
Erykah Badu,
Marmalade,
Skarface,
Sly & The Family Stone,
Flash Fearless,
Technova,
Dead Boys,
Suicide, Suicide, Suicide, Suicide.
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.