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 Russia and from Copenhagen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1979.
I'm losing my edge.
To all the kids in Milan and Tokyo.
I'm losing my edge to the art-school Jakarta 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 rhodes sounds with much patience.
I was there when David Bowie 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 June Days to the grunge 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 Lonnie Liston Smith. All the underground hits.
All Bill Near tracks. I heard you have a vinyl of every The Zeros record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Interpol,
Agent Orange,
Freddie Wadling,
the Soft Cell,
Ultramagnetic MC's,
In Retrospect,
Ultra Naté,
Rapeman,
Young Marble Giants,
Danielle Patucci,
The Trojans,
Visionaries,LMNO, T- Love & Iriscience,
Joensuu 1685,
Scratch Acid,
Red Lorry Yellow Lorry,
Peter & Gordon,
Magazine,
Soft Machine,
Cheater Slicks,
The Happenings,
Minutemen,
Derrick May,
D'Angelo,
Faraquet,
Sandy B,
The Moleskins,
AZ,
Avey Tare & Kría Brekkan,
A Flock of Seagulls,
Dual Sessions,
EPMD,
Justin Hinds & The Dominoes,
Graham Central Station,
Ralphi Rosario,
Franke,
Electric Light Orchestra,
Gary Puckett & The Union Gap,
Bang on a Can All-Stars,
Deakin,
Country Joe & The Fish,
Gil Scott-Heron & Brian Jackson,
Make Up,
The Monochrome Set,
Blake Baxter,
The Buckinghams,
Hardrive,
Symarip,
The Names,
Crime,
Vainqueur,
The Dead C,
Louis and Bebe Barron,
Dawn Penn,
Gil Scott Heron,
Lungfish,
The Slits,
Crash Course in Science,
The Cure,
Tommy Roe,
Ornette Coleman,
Bush Tetras,
Glenn Branca, Glenn Branca, Glenn Branca, Glenn Branca.
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.