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 Luxembourg and from Toronto.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Milan and Jakarta.
I'm losing my edge to the art-school Lagos 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Freddie Wadling 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 Peter and Kerry. All the underground hits.
All Maurizio tracks. I heard you have a vinyl of every Arab on Radar 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Blackbyrds 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?
Shuggie Otis,
Clear Light,
The Fortunes,
Wire,
8 Eyed Spy,
Dark Day,
The Misunderstood,
Moss Icon,
Sällskapet,
Bluetip,
ABC,
Bang on a Can All-Stars,
Wally Richardson,
Bobbi Humphrey,
Manfred Mann's Earth Band,
Jawbox,
Young Marble Giants,
The Gap Band,
Dorothy Ashby,
Ronnie Foster,
Alison Limerick,
The Sonics,
The Tremeloes,
CMW,
Ralphi Rosario,
Marcia Griffiths,
Donny Hathaway,
Red Lorry Yellow Lorry,
Crash Course in Science,
Bobby Sherman,
Siglo XX,
The Move,
Alphaville,
Kurtis Blow,
Cecil Taylor,
John Foxx,
Soulsonic Force,
Lou Reed & John Cale,
John Cale,
Avey Tare's Slasher Flicks,
Blake Baxter,
Mandrill,
Jacob Miller,
The Monochrome Set,
Ultra Naté,
The Neon Judgement,
Soft Machine,
Brick,
The Searchers,
F. McDonald,
Nick Cave & The Bad Seeds,
Vaughan Mason & Crew,
D'Angelo,
Boogie Down Productions,
Livin' Joy,
Beasts of Bourbon,
Agent Orange,
Slave,
Todd Terry,
Nico,
Q65,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.