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 United Kingdom and from Seoul.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Salvador and London.
I'm losing my edge to the art-school Toronto 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 marimba 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 The Tremeloes to the grime kids.
I played it at the Hacienda.
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 Sad Lovers and Giants. All the underground hits.
All Ajijia Myrayebe tracks. I heard you have a vinyl of every Ituana 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 '70s cut and another box set from the '90s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Wake record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Five Americans,
Von Mondo,
Soul II Soul,
James Chance & The Contortions,
Gichy Dan,
Deutsch Amerikanische Freundschaft,
Letta Mbulu,
The Fugs,
Sad Lovers and Giants,
Be Bop Deluxe,
Warren Ellis,
Grandmaster Flash,
Shoche,
Deakin,
Banda Bassotti,
The West Coast Pop Art Experimental Band,
Suicide,
New Order,
Nation of Ulysses,
Teenage Jesus and the Jerks,
Darondo,
Essential Logic,
Röyhkä ja Rättö ja Lehtisalo,
Lyres,
Depeche Mode,
The American Breed,
AZ,
Pet Shop Boys,
Ossler,
Joyce Sims,
Eric B and Rakim,
Marvin Gaye,
The Mighty Diamonds,
Magma,
Quantec,
Arcadia,
K-Klass,
The Remains,
Arthur Verocai,
Panda Bear,
Boz Scaggs,
Anthony Braxton,
Robert Görl,
T.S.O.L.,
Albert Ayler,
The Martian,
Heaven 17,
Thinking Fellers Union Local 282,
Pagans,
Kenny Larkin,
Stiv Bators,
Larry & the Blue Notes,
Blake Baxter,
The Birthday Party,
Drive Like Jehu,
The Men They Couldn't Hang,
Rahsaan Roland Kirk,
Aural Exciters,
Gregory Isaacs,
Jandek,
Throbbing Gristle,
Stockholm Monsters,
the Normal, the Normal, the Normal, the Normal.
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.