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 Czech Republic and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Paris.
I'm losing my edge to the art-school Mumbai 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 1977 at the first Zapp practice in a loft in Hamilton.
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 Ludus to the jazz 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 U.S. Maple. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Minnie Riperton 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 '80s cut and another box set from the '90s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Soft Cell record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ossler,
Hot Snakes,
Adolescents,
48th St. Collective,
Royal Trux,
Swell Maps,
The Busters,
H. Thieme,
Brothers Johnson,
The Gun Club,
Moebius,
Don Cherry,
Deepchord,
EPMD,
Kayak,
Justin Hinds & The Dominoes,
Infiniti,
Jeff Mills,
Flamin' Groovies,
Sun Ra Arkestra,
a-ha,
Eve St. Jones,
Country Teasers,
Harpers Bizarre,
Sunsets and Hearts,
Be Bop Deluxe,
Idris Muhammad,
Soft Machine,
The Names,
Avey Tare & Kría Brekkan,
In Retrospect,
Hashim,
Fifty Foot Hose,
Soul Sonic Force,
The Vogues,
The Pretty Things,
Young Marble Giants,
Judy Mowatt,
The Flesh Eaters,
Orchestral Manoeuvres in the Dark,
The Velvet Underground,
Average White Band,
The Mojo Men,
The Blues Magoos,
Youth Brigade,
Sly & The Family Stone,
The Index,
PIL,
The Monks,
Spandau Ballet,
One Last Wish,
Red Lorry Yellow Lorry,
Second Layer,
The Red Krayola,
The Sound,
A Certain Ratio,
Lou Reed,
Nick Fraelich,
JFA,
Archie Shepp,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.