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 Senegal and from Jakarta.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 Woodstock and Sao Paulo.
I'm losing my edge to the art-school Lille 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 marimba sounds with much patience.
I was there when Donald Fagen 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 Kauko Röyhkä ja Narttu to the dance kids.
I played it at the Roxy.
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 It's A Beautiful Day. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bill Near record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aloha Tigers,
Crime,
The Last Poets,
Avey Tare,
A Flock of Seagulls,
Bauhaus,
Dave Gahan,
T. Rex,
Marmalade,
Roy Ayers Ubiquity,
Nation of Ulysses,
Fear,
The Modern Lovers,
The Index,
The Golliwogs,
Crash Course in Science,
Gil Scott Heron,
Television,
Gil Scott-Heron & Brian Jackson,
Newcleus,
The American Breed,
The Five Americans,
Sister Nancy,
The Music Machine,
Justin Hinds & The Dominoes,
Marcia Griffiths,
Franke,
The Walker Brothers,
Joe Finger,
Brand Nubian,
Darondo,
Tim Buckley,
Dead Boys,
Clear Light,
The Mighty Diamonds,
Röyhkä ja Rättö ja Lehtisalo,
The Vogues,
Glambeats Corp.,
The Sound,
Erasure,
Bluetip,
Flamin' Groovies,
John Holt,
Eli Mardock,
Jacob Miller,
FM Einheit,
Intrusion,
The Real Kids,
Surgeon,
Agitation Free,
Unwound,
H. Thieme,
Camron Feat. Memphis Bleek And Beenie Seigel,
kango's stein massive,
Sällskapet,
X-102,
Hoover,
Kool Moe Dee,
Radio Birdman,
Nas, Nas, Nas, Nas.
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.