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 Bahamas and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Manchester.
I'm losing my edge to the art-school New York 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Visage to the jazz kids.
I played it at the Spitz.
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 LL Cool J. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Intrusion record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mighty Diamonds,
Notorious BIG live in Amsterdam,
Cymande,
Chrome,
Au Pairs,
John Holt,
Henry Cow,
Rufus Thomas,
The Knickerbockers,
Mo-Dettes,
Deepchord,
Kaleidoscope,
Flash Fearless,
Gang Green,
Crash Course in Science,
Art Ensemble Of Chicago,
Yaz,
Lebanon Hanover,
Cabaret Voltaire,
Heavy D & The Boyz,
Jawbox,
Pete Rock & C.L. Smooth,
Erasure,
Larry & the Blue Notes,
Porter Ricks,
Marine Girls,
Lakeside,
Young Marble Giants,
The Monochrome Set,
Black Pus,
Jacob Miller,
Brand Nubian,
Thee Headcoats,
Major Organ And The Adding Machine,
FM Einheit,
Sister Nancy,
Amon Düül,
Frankie Knuckles,
Ultra Naté,
Ornette Coleman,
Lower 48,
Laurel Aitken,
Suicide,
James Chance & The Contortions,
Joensuu 1685,
Marc Almond,
Trumans Water,
Neil Young,
The Gun Club,
UT,
Blancmange,
A Flock of Seagulls,
Banda Bassotti,
Fad Gadget,
the Normal,
Soulsonic Force,
Radiohead,
Average White Band,
Television,
The Slackers,
Josef K,
Donald Byrd,
Talk Talk, Talk Talk, Talk Talk, Talk Talk.
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.