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 Papua New Guinea and from Hong Kong.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Toronto and Madrid.
I'm losing my edge to the art-school Accra 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Outsiders to the crunk 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 Derrick Morgan. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every The Invisible record on German import.
I heard that you have a white label of every seminal grunge 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 an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sandy B,
Magazine,
The Pop Group,
L. Decosne,
Motorama,
The Fall,
Shuggie Otis,
cv313,
E-Dancer,
Jeru the Damaja,
The Blues Magoos,
Peter and Kerry,
MDC,
Loose Ends,
H. Thieme,
The Buckinghams,
Minnie Riperton,
Scientists,
KRS-One,
Sunsets and Hearts,
Wasted Youth,
Bauhaus,
Saccharine Trust,
DJ Sneak,
Crooked Eye,
New Order,
Morten Harket,
Lebanon Hanover,
Faust,
the Association,
Rites of Spring,
Fifty Foot Hose,
Orchestral Manoeuvres in the Dark,
Television,
Ronnie Foster,
Throbbing Gristle,
Maleditus Sound,
The Seeds,
Robert Görl,
Faraquet,
Black Bananas,
Scott Walker,
Scan 7,
The Moody Blues,
Joyce Sims,
Piero Umiliani,
Fad Gadget,
Ken Boothe,
Easy Going,
Robert Hood,
Deakin,
The Smiths,
The Names,
Man Parrish,
Hot Snakes,
Scott Walker + Sunn O))),
Sticky Fingaz feat. Raekwon,
Deutsch Amerikanische Freundschaft,
Cabaret Voltaire,
Lakeside,
Television Personalities,
Sun Ra Arkestra,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.