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 Latvia and from Woodstock.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Salvador and Woodstock.
I'm losing my edge to the art-school Toronto 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 synthesizer 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 Fania All-Stars to the techno 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 Ossler. All the underground hits.
All The Angels of Light tracks. I heard you have a vinyl of every Nirvana record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Hot Snakes record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Man Parrish,
Barclay James Harvest,
Todd Rundgren,
Tubeway Army,
Marcia Griffiths,
Marvin Gaye,
Junior Murvin,
Chris & Cosey,
Mary Jane Girls,
Scion,
Barbara Tucker,
Zapp,
Jeru the Damaja,
Marmalade,
Hot Snakes,
Freddie Wadling,
The Blackbyrds,
Nik Kershaw,
Oppenheimer Analysis,
The Fuzztones,
Girls At Our Best!,
Pharoah Sanders,
DJ Sneak,
Kango’s Stein Massive,
Malaria!,
The Misunderstood,
Eric B and Rakim,
Ultravox,
Deadbeat,
Mad Mike,
The Searchers,
Desert Stars,
R.M.O.,
Cal Tjader,
Qualms,
Suicide,
Sonny Sharrock,
Gong,
Thompson Twins,
Dark Day,
Crash Course in Science,
Ultimate Spinach,
Mark Hollis,
The Walker Brothers,
Crime,
Shoche,
Red Lorry Yellow Lorry,
Scrapy,
Roger Hodgson,
KRS-One,
Echospace,
Bill Near,
Fat Boys,
The Fall,
The Monochrome Set,
Dead Boys,
Metal Thangz,
Bang on a Can All-Stars,
Roy Ayers Ubiquity,
One Last Wish,
Pussy Galore,
Skaos,
Section 25, Section 25, Section 25, Section 25.
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.