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 Kyrgyzstan and from Toronto.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Manila.
I'm losing my edge to the art-school Jakarta 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 1978 at the first Visage practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 Rakim to the techno 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 These Immortal Souls. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every The Shadows of Knight record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a U.S. Maple record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Steve Hackett,
The Index,
Theoretical Girls,
Scion,
Arthur Verocai,
Justin Hinds & The Dominoes,
ABBA,
June Days,
James White and The Blacks,
Au Pairs,
the Sonics,
Tropical Tobacco,
Kango’s Stein Massive,
Livin' Joy,
Mission of Burma,
the Soft Cell,
Second Layer,
Jerry Gold Smith,
The Detroit Cobras,
Guru Guru,
Black Pus,
Qualms,
Ralphi Rosario,
Siglo XX,
Gregory Isaacs,
Cameo,
Tears for Fears,
Sarah Menescal,
Faust,
Saccharine Trust,
Ultimate Spinach,
Symarip,
Chrome,
Patti Smith,
Rotary Connection,
Amazonics,
Loose Ends,
The Dave Clark Five,
Don Cherry,
The Men They Couldn't Hang,
Masters at Work,
Lou Reed & John Cale,
Nico,
Fela Kuti,
Hot Snakes,
Magma,
One Last Wish,
The Mojo Men,
David Bowie,
Bobby Hutcherson,
Andrew Ashong & Theo Parrish,
Rod Modell,
Lou Reed,
Mark Hollis,
The Moody Blues,
Isaac Hayes,
The Fugs,
Sight & Sound,
Kerri Chandler,
Quantec,
Orchestral Manoeuvres in the Dark,
Dual Sessions,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.