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 Ethiopia and from Manchester.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Milan and Spokane.
I'm losing my edge to the art-school Lyon 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the sitar 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 Girls At Our Best! 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 The Chocolate Watch Band. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Neu! 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 '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiopuhelimet,
Rod Modell,
Janne Schatter,
The Modern Lovers,
Masters at Work,
Graham Central Station,
The Associates,
Todd Terry,
Schoolly D,
Avey Tare & Kría Brekkan,
Pere Ubu,
The Five Americans,
JFA,
Bang on a Can All-Stars,
K-Klass,
Bad Manners,
Aural Exciters,
Erasure,
Japan,
Outsiders,
The Grass Roots,
Dr. Dre and Snoop Doggy Dog,
Angels of Light & Akron/Family,
Pussy Galore,
Jacob Miller,
Ludus,
Average White Band,
Carl Craig,
The Searchers,
AZ,
The Raincoats,
Dorothy Ashby,
The Busters,
Main Source,
Interpol,
Ronnie Foster,
Fatback Band,
the Soft Cell,
Scan 7,
Blancmange,
Gabor Szabo,
Hoover,
Sandy B,
The Shadows of Knight,
Selector Dub Narcotic,
Sun Ra Arkestra,
Johnny Osbourne,
Laurel Aitken,
PIL,
The Invisible,
Slick Rick,
Vainqueur,
The Moody Blues,
Gerry Rafferty,
Rhythm & Sound,
Hasil Adkins,
Kenny Larkin,
Minnie Riperton,
Thinking Fellers Union Local 282,
R.M.O.,
Soulsonic Force,
The Leaves,
De La Soul & Jungle Brothers,
The Young Rascals, The Young Rascals, The Young Rascals, The Young Rascals.
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.