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 Eritrea and from Stockholm.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1962 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Tokyo.
I'm losing my edge to the art-school Copenhagen 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 Robert Palmer 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 Monks 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 Marshall Jefferson. All the underground hits.
All Massinfluence tracks. I heard you have a vinyl of every Henry Cow record on German import.
I heard that you have a white label of every seminal funk 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 an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Kinks record.
I hear that you and your band have sold your marimba and bought a güiro.
I hear that you and your band have sold your güiro and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gun Club,
Yazoo,
Sunsets and Hearts,
Ultravox,
Vladislav Delay,
The American Breed,
Lou Reed,
Lindisfarne,
Cheater Slicks,
Deadbeat,
Erasure,
Maurizio,
Rhythm & Sound,
Ponytail,
Arthur Verocai,
The Cure,
PIL,
Fat Boys,
Wighnomy Brothers & Robag Wruhme,
Bobbi Humphrey,
Hoover,
Fatback Band,
Peter & Gordon,
Marine Girls,
In Retrospect,
Qualms,
Rekid,
Bootsy Collins,
the Sonics,
Godley & Creme,
Lucky Dragons,
Danielle Patucci,
Quantec,
T.S.O.L.,
Fort Wilson Riot,
Monolake,
The Sisters of Mercy,
Louis and Bebe Barron,
Angels of Light & Akron/Family,
Brand Nubian,
Bill Wells,
Eric Copeland,
D'Angelo,
Lou Reed & Metallica,
Piero Umiliani,
Pulsallama,
The Birthday Party,
Can,
Aural Exciters,
Brass Construction,
Dead Boys,
Davy DMX,
Cecil Taylor,
Radiohead,
Justin Hinds & The Dominoes,
Andrew Hill,
The Smoke,
Country Teasers,
Gang of Four,
Pantaleimon,
Donald Byrd,
Los Fastidios,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.