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 South Africa and from Delhi.
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 1977.
I'm losing my edge.
To all the kids in Jakarta and New York.
I'm losing my edge to the art-school Manchester 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Terrestrial Tones to the crunk kids.
I played it at the 40 Watt.
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 Khruangbin. All the underground hits.
All Franke tracks. I heard you have a vinyl of every Altered Images 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 '70s cut and another box set from the '70s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Public Image Ltd. record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
Tropical Tobacco,
Matthew Bourne,
The Star Department,
Lakeside,
Kevin Saunderson,
Godley & Creme,
Pharoah Sanders,
Lonnie Liston Smith,
Erasure,
Crash Course in Science,
Dark Day,
The Knickerbockers,
Public Image Ltd.,
Ludus,
Harpers Bizarre,
Isaac Hayes,
Jeru the Damaja,
Throbbing Gristle,
Nick Fraelich,
Sonny Sharrock,
Japan,
Albert Ayler,
The Leaves,
EPMD,
Barrington Levy,
Hoover,
Delon & Dalcan,
Tres Demented,
Monks,
Banda Bassotti,
Matthew Halsall,
Lee Hazlewood,
Swans,
Ralphi Rosario,
The Jesus and Mary Chain,
Don Cherry,
Echospace,
Alison Limerick,
Deadbeat,
Junior Murvin,
Mars,
The Fortunes,
Letta Mbulu,
Deepchord,
Pagans,
E-Dancer,
Jesper Dahlback,
Jawbox,
Rapeman,
Captain Beefheart & His Magic Band,
Eurythmics,
Sound Behaviour,
Frankie Knuckles,
Charles Mingus,
Pole,
Reagan Youth,
The Chocolate Watch Band,
DJ Style,
Mr. Review,
Faust, Faust, Faust, Faust.
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.