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 Liberia and from Tehran.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Manila and Edmonton.
I'm losing my edge to the art-school Winnipeg 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 marimba 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 Nas to the dance 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 Flamin' Groovies. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every Cheater Slicks record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
Orchestral Manoeuvres in the Dark,
Circle Jerks,
Robert Wyatt,
The Cowsills,
Siouxsie and the Banshees,
X-Ray Spex,
Bootsy Collins,
Ken Boothe,
Chris & Cosey,
Johnny Clarke,
Minny Pops,
Andrew Ashong & Theo Parrish,
Echospace,
The Motions,
Pharaoh Sanders and the Fire Engines,
Joe Finger,
The Slackers,
Swell Maps,
Monolake,
Ludus,
Jesper Dahlbäck,
Masters at Work,
The Happenings,
Barry Ungar,
Deepchord,
Albert Ayler,
June Days,
The Gun Club,
Howard Jones,
Suicide,
Graham Central Station,
Freddie Wadling,
The Associates,
Hasil Adkins,
Rahsaan Roland Kirk,
Easy Going,
Andrew Hill,
The Knickerbockers,
Soul II Soul,
Scratch Acid,
R.M.O.,
Echo & the Bunnymen,
Scion,
Peter & Gordon,
Electric Light Orchestra,
Tres Demented,
The Move,
Kool Moe Dee,
The Birthday Party,
The Alarm Clocks,
Vaughan Mason & Crew,
Beasts of Bourbon,
Barrington Levy,
the Soft Cell,
the Association,
the Germs,
Tropical Tobacco,
Crispian St. Peters, Crispian St. Peters, Crispian St. Peters, Crispian St. Peters.
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.