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 Tajikistan and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1977.
I'm losing my edge.
To all the kids in Winnipeg and Beijing.
I'm losing my edge to the art-school Copenhagen 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 1976 at the first Soft Boys practice in a loft in Cambridge.
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 Ken Boothe to the grunge kids.
I played it at the 40 Watt.
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 Boogie Down Productions. All the underground hits.
All KRS-One tracks. I heard you have a vinyl of every Sonic Youth 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
The Smoke,
Red Lorry Yellow Lorry,
Manfred Mann's Earth Band,
The Birthday Party,
Roger Hodgson,
Interpol,
Radiopuhelimet,
The Blackbyrds,
Camron Feat. Jay Z And Juelz,
Cameo,
cv313,
Lou Reed & Metallica,
London Community Gospel Choir,
Soul Sonic Force,
Spoonie Gee,
Fluxion,
Tears for Fears,
Minnie Riperton,
The Doobie Brothers,
Morten Harket,
Ken Boothe,
Con Funk Shun,
Depeche Mode,
Ponytail,
Moebius,
Au Pairs,
Scratch Acid,
Agitation Free,
Jesper Dahlbäck,
James White and The Blacks,
Colin Newman,
Average White Band,
Boz Scaggs,
Crispian St. Peters,
Alphaville,
The Shadows of Knight,
Liaisons Dangereuses,
The Mighty Diamonds,
Bang On A Can,
Byron Stingily,
Blake Baxter,
the Swans,
La Düsseldorf,
Siglo XX,
Lyres,
Letta Mbulu,
The Cure,
Pete Rock & C.L. Smooth,
Desert Stars,
The Selecter,
The Walker Brothers,
Vainqueur,
The Alarm Clocks,
Nas,
Wire,
Fear,
UT,
The Move,
Hashim,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.