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 Macedonia and from Lille.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Lyon.
I'm losing my edge to the art-school London 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay 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 Spandau Ballet to the rap kids.
I played it at the Astoria.
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 Terry Callier. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every Lalann 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 '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unwound,
Graham Central Station,
Sixth Finger,
Jacob Miller,
Sandy B,
Trumans Water,
Wolf Eyes,
Sonic Youth,
Aloha Tigers,
Chrome,
Orchestral Manoeuvres in the Dark,
Groovy Waters,
AZ,
Aaron Thompson,
Crime,
a-ha,
Chris & Cosey,
Shuggie Otis,
Wighnomy Brothers & Robag Wruhme,
Andrew Ashong & Theo Parrish,
The Kinks,
Piero Umiliani,
Liliput,
The Red Krayola,
Warren Ellis,
Joe Finger,
Mo-Dettes,
Blancmange,
Lucky Dragons,
the Swans,
Swans,
Amon Düül,
Ronnie Foster,
Country Joe & The Fish,
Oblivians,
Wasted Youth,
Quando Quango,
Black Flag,
Drexciya,
This Heat,
the Association,
The Mummies,
Hashim,
T.S.O.L.,
The Angels of Light,
Spandau Ballet,
The Moleskins,
U.S. Maple,
Lafayette Afro Rock Band,
The Last Poets,
Rhythm & Sound,
Eurythmics,
Soft Cell,
X-101,
De La Soul & Jungle Brothers,
The Motions,
Rakim,
The Fall,
Susan Cadogan,
The Five Americans,
The Sisters of Mercy,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.