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 Zambia and from Madrid.
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 1973.
I'm losing my edge.
To all the kids in Tokyo and Stockholm.
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 Chic practice in a loft in New York.
I was working on the synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Y Pants to the jazz 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 Warsaw. All the underground hits.
All FM Einheit tracks. I heard you have a vinyl of every Basic Channel record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
Ultimate Spinach,
Quando Quango,
Sad Lovers and Giants,
The Real Kids,
Lizzy Mercier Descloux,
Alice Coltrane,
Tomorrow,
Radiohead,
10cc,
The Seeds,
X-101,
Kings Of Tomorrow,
The Moleskins,
Black Bananas,
Surgeon,
Kauko Röyhkä ja Narttu,
The Black Dice,
Fatback Band,
David Axelrod,
DJ Style,
Althea and Donna,
Unrelated Segments,
Lightning Bolt,
Crispian St. Peters,
Sight & Sound,
Flash Fearless,
Jerry Gold Smith,
Peter and Kerry,
Dorothy Ashby,
Cecil Taylor,
Spoonie Gee,
Morten Harket,
The Durutti Column,
Mr. Review,
Chris & Cosey,
Visage,
Pussy Galore,
Cymande,
The Dirtbombs,
Public Image Ltd.,
Orchestral Manoeuvres in the Dark,
Hashim,
Max Romeo,
Harmonia,
Bill Near,
The Index,
Warsaw,
Bluetip,
Angels of Light & Akron/Family,
Steve Hackett,
Unwound,
Roger Hodgson,
Soft Machine,
Fugazi,
Selector Dub Narcotic,
Crime,
The Moody Blues, The Moody Blues, The Moody Blues, The Moody Blues.
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.