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 Hong Kong.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Bologna.
I'm losing my edge to the art-school Sao Paulo 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 1973 at the first Television practice in a loft in New York.
I was working on the clarinet 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 The Alarm Clocks to the grime kids.
I played it at the Roxy.
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 Brothers Johnson. All the underground hits.
All the Sonics tracks. I heard you have a vinyl of every Ken Boothe record on German import.
I heard that you have a white label of every seminal grunge 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 synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
New Age Steppers,
Kevin Saunderson,
UT,
The Victims,
Eurythmics,
Massinfluence,
R.M.O.,
Anthony Braxton,
Cybotron,
The Busters,
Nils Olav,
Bizarre Inc.,
Radio Birdman,
Erasure,
Teenage Jesus and the Jerks,
The Electric Prunes,
Harry Pussy,
Buzzcocks,
The Star Department,
One Last Wish,
Cymande,
Fear,
Carl Craig,
Sly & The Family Stone,
Babytalk,
Echo & the Bunnymen,
Captain Beefheart & His Magic Band,
Howard Jones,
Bobby Byrd,
Black Flag,
David Bowie,
Orchestral Manoeuvres in the Dark,
The Blackbyrds,
Organ,
Lou Reed & Metallica,
Faust,
The West Coast Pop Art Experimental Band,
Animal Collective,
Robert Hood,
Pierre Henry,
Slick Rick,
Simply Red,
Rhythm & Sound,
Gil Scott-Heron and Jamie xx,
Sandy B,
The Martian,
The J.B.'s,
Todd Rundgren,
Scrapy,
Can,
Section 25,
Sex Pistols,
Vaughan Mason & Crew,
Joy Division,
Excepter,
Arthur Verocai,
Jeff Mills,
Skaos,
Suburban Knight,
Bill Near,
Kenny Larkin,
Pylon, Pylon, Pylon, Pylon.
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.