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 Yemen and from New York.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Lyon.
I'm losing my edge to the art-school Paris 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 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 This Heat 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 Country Joe & The Fish. All the underground hits.
All Sonic Youth tracks. I heard you have a vinyl of every Boredoms record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
Crispian St. Peters,
Negative Approach,
Dawn Penn,
Pussy Galore,
Jawbox,
Moby Grape,
Soul II Soul,
Agitation Free,
The Gladiators,
OOIOO,
Niagra,
Thompson Twins,
Orchestral Manoeuvres in the Dark,
B.T. Express,
E-Dancer,
Selector Dub Narcotic,
Sun Ra,
Swell Maps,
Reagan Youth,
Vladislav Delay,
The Fuzztones,
Suburban Knight,
Joe Smooth,
Michelle Simonal,
Organ,
Bad Manners,
Minutemen,
Alton Ellis,
U.S. Maple,
R.M.O.,
Jerry Gold Smith,
Pere Ubu,
Tom Boy,
A Flock of Seagulls,
Andrew Ashong & Theo Parrish,
10cc,
DeepChord presents Echospace,
Eric Dolphy,
Anakelly,
Animal Collective,
Chrome,
Scratch Acid,
James Chance & The Contortions,
Clear Light,
Josef K,
Warsaw,
Crime,
Barrington Levy,
Moss Icon,
Soft Cell,
Sugar Minott,
Vainqueur,
Kool Moe Dee,
The Royal Family And The Poor,
The Electric Prunes,
Cluster,
KRS-One,
Crooked Eye,
The American Breed,
Beasts of Bourbon,
Johnny Osbourne,
Easy Going,
Khruangbin, Khruangbin, Khruangbin, Khruangbin.
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.