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 Cape Verde and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1975.
I'm losing my edge.
To all the kids in Stockholm and Columbus.
I'm losing my edge to the art-school New York 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 Michael McDonald 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 The Victims to the techno 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 Accadde A. All the underground hits.
All Simply Red tracks. I heard you have a vinyl of every The Tremeloes record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Dawn Penn,
Eurythmics,
Drexciya,
Grandmaster Flash,
Teenage Jesus and the Jerks,
The Busters,
Frankie Knuckles,
Visionaries,LMNO, T- Love & Iriscience,
Jimmy McGriff,
Make Up,
Circle Jerks,
Moebius,
Lakeside,
The Alarm Clocks,
Ralphi Rosario,
Fela Kuti,
a-ha,
Swans,
Vladislav Delay,
Dave Gahan,
cv313,
Minny Pops,
Smog,
Pere Ubu,
Jandek,
Black Flag,
John Holt,
Trumans Water,
Sällskapet,
Bill Wells,
Archie Shepp,
The Searchers,
Wings,
Joey Negro,
Super Lover Cee & Casanova Rud,
Theoretical Girls,
The Velvet Underground,
Jeff Lynne,
Aloha Tigers,
Oppenheimer Analysis,
Warsaw,
Lizzy Mercier Descloux,
Lungfish,
Harmonia,
The Durutti Column,
John Coltrane,
Bauhaus,
Robert Hood,
Fear,
John Lydon,
Ajijia Myrayebe,
The Cure,
The Fortunes,
Talk Talk,
Soulsonic Force,
Gastr Del Sol,
Vaughan Mason & Crew,
The Detroit Cobras,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.