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 Gambia 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 1968 to 1978.
I'm losing my edge.
To all the kids in Madrid and Portland.
I'm losing my edge to the art-school Calgary 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 Pulsallama to the funk kids.
I played it at the Roxy.
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 Teasers. All the underground hits.
All De La Soul & Jungle Brothers tracks. I heard you have a vinyl of every Ronnie Foster 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
FM Einheit,
The Fire Engines,
The Misunderstood,
Hasil Adkins,
Bobby Sherman,
Thinking Fellers Union Local 282,
Pharaoh Sanders and the Fire Engines,
Ken Boothe,
Connie Case,
Deutsch Amerikanische Freundschaft,
Ohio Players,
Jawbox,
Roxette,
Oneida,
The Chocolate Watch Band,
Peter and Kerry,
Parry Music,
Dual Sessions,
Nas,
The Searchers,
OOIOO,
Al Stewart,
Eric Dolphy,
Janne Schatter,
Bluetip,
X-Ray Spex,
The Busters,
Electric Prunes,
Ultravox,
Throbbing Gristle,
The Slits,
The Smiths,
Kings Of Tomorrow,
Tears for Fears,
The Smoke,
June of 44,
Avey Tare's Slasher Flicks,
Drexciya,
The Wake,
Gian Franco Pienzio,
Panda Bear,
The Saints,
The Cowsills,
The Music Machine,
Supertramp,
Flipper,
Lakeside,
Yellowson,
Glenn Branca,
Carl Craig,
Urselle,
Red Lorry Yellow Lorry,
Joe Finger,
Sun Ra Arkestra,
Jimmy McGriff,
The Vogues,
The Selecter,
Rites of Spring,
The Detroit Cobras,
Radio Birdman,
Lee Hazlewood,
De La Soul & Jungle Brothers,
Marmalade,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.