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 Suriname and from New York.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Stockholm.
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 güiro sounds with much patience.
I was there when Michael McDonald 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 Monks to the jazz kids.
I played it at the Troubador.
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 Sonic Youth. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every Eric Dolphy record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Grauzone record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Tears for Fears,
Marmalade,
Black Pus,
Buzzcocks,
Thompson Twins,
Rapeman,
Ludus,
The Smoke,
Suburban Knight,
Scan 7,
Cybotron,
Erasure,
Altered Images,
Matthew Halsall,
Scott Walker,
Depeche Mode,
Grey Daturas,
Boogie Down Productions,
Whodini,
Frankie Knuckles,
Agitation Free,
the Human League,
The Sound,
Ituana,
James Chance & The Contortions,
John Foxx,
The Birthday Party,
Alice Coltrane,
Lalo Schifrin,
Eden Ahbez,
Jawbox,
Donald Byrd,
The Leaves,
Smog,
Jacob Miller,
Gerry Rafferty,
R.M.O.,
Aswad,
Charles Mingus,
Avey Tare,
Gabor Szabo,
Public Image Ltd.,
Fela Kuti,
Moss Icon,
Skarface,
Marshall Jefferson,
Danielle Patucci,
The Cure,
Byron Stingily,
Pagans,
Talk Talk,
Grauzone,
Deepchord,
Underground Resistance,
Supertramp,
Wings,
Sparks,
Deadbeat,
Roxette,
Bang On A Can,
The Dead C, The Dead C, The Dead C, The Dead C.
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.