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 Moldova and from Manchester.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1977.
I'm losing my edge.
To all the kids in Spokane and Tehran.
I'm losing my edge to the art-school Tokyo 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 mellotron sounds with much patience.
I was there when Robert Palmer 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 a-ha to the crunk kids.
I played it at the Crocodile.
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 Move. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun City Girls,
The Mummies,
Max Romeo,
The Remains,
Excepter,
Boz Scaggs,
Marc Almond,
The Blackbyrds,
Zapp,
Siouxsie and the Banshees,
Mandrill,
Quantec,
the Normal,
Rahsaan Roland Kirk,
Marshall Jefferson,
Unwound,
The Techniques,
ABC,
Radiohead,
Funkadelic,
The Dave Clark Five,
The Flesh Eaters,
The Beau Brummels,
Goldenarms,
The Cramps,
The Dead C,
Todd Rundgren,
The Saints,
D'Angelo,
Tears for Fears,
DJ Style,
The Royal Family And The Poor,
Robert Hood,
Roger Hodgson,
Siglo XX,
Peter Gordon & Love of Life Orchestra,
Fifty Foot Hose,
Marcia Griffiths,
Byron Stingily,
Glambeats Corp.,
Soft Cell,
Stereo Dub,
Lebanon Hanover,
The Residents,
Vladislav Delay,
Al Stewart,
Avey Tare,
London Community Gospel Choir,
It's A Beautiful Day,
Monolake,
Visionaries,LMNO, T- Love & Iriscience,
Gastr Del Sol,
Moss Icon,
Bang on a Can All-Stars,
Lakeside,
The Victims,
Mary Jane Girls,
Brand Nubian,
Massinfluence,
The Pretty Things,
Jandek,
Eli Mardock,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.