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 Ecuador and from Edmonton.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Mexico City.
I'm losing my edge to the art-school Salvador 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 oboe 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 Marc Romboy vs. Booka Shade to the funk 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 Symarip. All the underground hits.
All Soul Sonic Force tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal jazz 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 an oboe and are throwing your macbook out the window because you want to make something real. You want to make a These Immortal Souls record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dennis Brown,
Arthur Verocai,
Gil Scott Heron,
The Associates,
Scott Walker,
Simply Red,
These Immortal Souls,
Mission of Burma,
Harry Pussy,
Tommy Roe,
World's Most,
Lakeside,
48th St. Collective,
Connie Case,
Joe Smooth,
The Five Americans,
Fad Gadget,
The Fugs,
Laurel Aitken,
Duran Duran,
The Count Five,
Faraquet,
The Smoke,
The Move,
The Black Dice,
Tim Buckley,
Gian Franco Pienzio,
Little Man,
The West Coast Pop Art Experimental Band,
Robert Görl,
Traffic Nightmare,
Hasil Adkins,
Yaz,
Bootsy Collins,
Qualms,
the Human League,
Bobby Hutcherson,
Fear,
Crime,
Rhythm & Sound,
The Moleskins,
Youth Brigade,
Buzzcocks,
Reagan Youth,
Bobby Womack,
Pylon,
the Association,
Scrapy,
Kango’s Stein Massive,
EPMD,
Lizzy Mercier Descloux,
ABC,
Electric Prunes,
Dawn Penn,
FM Einheit,
The Pop Group,
Inner City,
The Mighty Diamonds,
The Doobie Brothers,
Livin' Joy,
Agitation Free,
Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra.
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.