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 St Lucia and from Madrid.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Manchester and Taipei.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the marimba sounds with much patience.
I was there when Captain Beefheart 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 R.M.O. 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 The Dave Clark Five. All the underground hits.
All Gil Scott-Heron & Brian Jackson tracks. I heard you have a vinyl of every Royal Trux record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funky Four + One,
Liaisons Dangereuses,
Eddi Front,
Brothers Johnson,
Charles Mingus,
The Gories,
Oneida,
Super Lover Cee & Casanova Rud,
Lakeside,
Black Bananas,
Jerry Gold Smith,
The West Coast Pop Art Experimental Band,
Flipper,
The Golliwogs,
Bobby Hutcherson,
Y Pants,
Magazine,
The Pop Group,
Alison Limerick,
The Slackers,
Throbbing Gristle,
Adolescents,
Model 500,
Altered Images,
Minny Pops,
the Fania All-Stars,
Bauhaus,
The Modern Lovers,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Echospace,
Glambeats Corp.,
Robert Wyatt,
Country Teasers,
Joey Negro,
John Lydon,
New Order,
Public Enemy,
Unrelated Segments,
Man Parrish,
Deakin,
Ash Ra Tempel,
Jimmy McGriff,
Crime,
Crispy Ambulance,
Minnie Riperton,
The Moleskins,
The Smiths,
Index,
Larry & the Blue Notes,
Barclay James Harvest,
Wings,
Outsiders,
The Evens,
Eurythmics,
The Moody Blues,
10cc,
The Shadows of Knight,
Brand Nubian,
Rites of Spring,
Radiopuhelimet,
Derrick May,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.