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 France and from Copenhagen.
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 1975.
I'm losing my edge.
To all the kids in Columbus and Lagos.
I'm losing my edge to the art-school Bremen 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 Buzzcocks practice in a loft in Bolton.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Stereo Dub to the dance kids.
I played it at the Crocodile.
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 De La Soul & Jungle Brothers. All the underground hits.
All Whodini tracks. I heard you have a vinyl of every Kurtis Blow record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
Robert Wyatt,
Shoche,
Roger Hodgson,
The Mojo Men,
Flash Fearless,
Crash Course in Science,
Das Ding,
Sound Behaviour,
Tubeway Army,
Nirvana,
Wighnomy Brothers & Robag Wruhme,
Basic Channel,
Roxette,
David McCallum,
Quando Quango,
Röyhkä ja Rättö ja Lehtisalo,
The Gap Band,
Larry & the Blue Notes,
Von Mondo,
Eve St. Jones,
The Grass Roots,
Danielle Patucci,
The Red Krayola,
The Fire Engines,
John Coltrane,
Subhumans,
Funkadelic,
Davy DMX,
Mantronix,
Gastr Del Sol,
Youth Brigade,
Yazoo,
Intrusion,
The Black Dice,
Buzzcocks,
the Fania All-Stars,
Flipper,
Prince Buster,
The Smoke,
U.S. Maple,
Toni Rubio,
Absolute Body Control,
Dawn Penn,
the Sonics,
Brand Nubian,
Bizarre Inc.,
Cluster,
Max Romeo,
Bill Wells,
Barry Ungar,
Al Stewart,
Kenny Larkin,
Arthur Verocai,
Khruangbin,
The Moleskins,
The Standells,
Albert Ayler,
Scrapy,
Dark Day,
The Associates,
Quantec,
Television Personalities, Television Personalities, Television Personalities, Television Personalities.
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.