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 Maldives and from Copenhagen.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1967 to 1970.
I'm losing my edge.
To all the kids in Salvador and Paris.
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 theremin 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 Royal Trux to the jazz 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 Delon & Dalcan. All the underground hits.
All Man Eating Sloth 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 electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donny Hathaway,
Andrew Ashong & Theo Parrish,
Jesper Dahlback,
Guru Guru,
Kango’s Stein Massive,
The Pretty Things,
Arthur Verocai,
Yaz,
The Angels of Light,
Soulsonic Force,
John Lydon,
Drive Like Jehu,
Wasted Youth,
Lou Reed & John Cale,
The Fall,
Barrington Levy,
The Dead C,
The Gories,
Anthony Braxton,
Selector Dub Narcotic,
Godley & Creme,
Avey Tare & Kría Brekkan,
Amon Düül,
The Fuzztones,
Kauko Röyhkä ja Narttu,
Eric Dolphy,
MC5,
World's Most,
David McCallum,
Gang Gang Dance,
Stockholm Monsters,
Spoonie Gee,
Mr. Review,
The Doobie Brothers,
Whodini,
Warsaw,
Rapeman,
Sarah Menescal,
Robert Wyatt,
Pantaleimon,
Pierre Henry,
Buzzcocks,
FM Einheit,
Scott Walker + Sunn O))),
Roy Ayers,
The Motions,
Bob Dylan,
The Real Kids,
U.S. Maple,
The Wake,
Mo-Dettes,
The Slits,
Eden Ahbez,
John Holt,
Heavy D & The Boyz,
Mark Hollis,
Kenny Larkin,
Wighnomy Brothers & Robag Wruhme,
Freddie Wadling,
The Durutti Column,
June of 44,
Easy Going,
Kurtis Blow,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.