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 Dominican Republic and from Seoul.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Paris and Hong Kong.
I'm losing my edge to the art-school Bremen 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the synthesizer 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 David Axelrod to the rap 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 Thompson Twins. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every the Fania All-Stars record on German import.
I heard that you have a white label of every seminal dance 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 chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Busters record.
I hear that you and your band have sold your 808 and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Sixth Finger,
Godley & Creme,
Magazine,
Fear,
Jerry's Kids,
Ludus,
The Victims,
The Gladiators,
Model 500,
These Immortal Souls,
Pole,
The Dave Clark Five,
Be Bop Deluxe,
X-101,
Roy Ayers,
Grandmaster Flash,
The Index,
Black Flag,
Arthur Verocai,
Bang on a Can All-Stars,
Lou Reed & Metallica,
B.T. Express,
Jesper Dahlback,
Terrestrial Tones,
Alphaville,
Sonic Youth,
Ultramagnetic MC's,
John Coltrane,
Marc Romboy vs. Booka Shade,
Mantronix,
E-Dancer,
Outsiders,
Wasted Youth,
Lungfish,
The Sisters of Mercy,
Radiopuhelimet,
Jerry Gold Smith,
Sad Lovers and Giants,
Boz Scaggs,
The Music Machine,
Cabaret Voltaire,
Fad Gadget,
Byron Stingily,
Pere Ubu,
The Smoke,
Gang Green,
Fatback Band,
Anthony Braxton,
Heaven 17,
The Pop Group,
Second Layer,
Young Marble Giants,
Ossler,
Susan Cadogan,
The Red Krayola,
Harpers Bizarre,
Swans,
Arab on Radar,
Slave,
Cal Tjader,
the Association,
Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx.
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.