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 Bolivia and from Lagos.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Bologna and Houston.
I'm losing my edge to the art-school Lagos 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Lou Reed 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 Flesh Eaters to the techno kids.
I played it at Trash.
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 Lonnie Liston Smith. All the underground hits.
All The New Christs tracks. I heard you have a vinyl of every Pete Rock & C.L. Smooth 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 '70s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a June of 44 record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
Lonnie Liston Smith,
The Techniques,
Bang on a Can All-Stars,
Kauko Röyhkä ja Narttu,
Peter and Kerry,
Nick Cave & The Bad Seeds,
The Fall,
The Jesus and Mary Chain,
Lou Christie,
Zero Boys,
Eli Mardock,
Liaisons Dangereuses,
The Smoke,
the Normal,
L. Decosne,
Lalo Schifrin,
Magazine,
Pole,
The Kinks,
Roxy Music,
Dark Day,
8 Eyed Spy,
Cal Tjader,
Don Cherry,
Lou Reed,
Dorothy Ashby,
James White and The Blacks,
The Gap Band,
Khruangbin,
Sugar Minott,
Bluetip,
The Detroit Cobras,
Chrome,
Average White Band,
The Beau Brummels,
Ronnie Foster,
Avey Tare,
Model 500,
Newcleus,
Eric B and Rakim,
48th St. Collective,
The Fugs,
Grandmaster Flash and the Furious Five,
Deadbeat,
Jeff Lynne,
The Blues Magoos,
Aswad,
The Divine Comedy,
Pet Shop Boys,
Kas Product,
Neu!,
The Mojo Men,
Maleditus Sound,
Freddie Wadling,
The Martian,
Schoolly D,
Roy Ayers,
Niagra,
Groovy Waters,
Delta 5,
Matthew Bourne,
Surgeon,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.