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 Germany and from Mumbai.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Cairo and Philadelphia.
I'm losing my edge to the art-school Accra 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 spring reverb 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 Freddie Wadling to the jazz kids.
I played it at the Astoria.
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 Gil Scott-Heron and Jamie xx. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every Kings Of Tomorrow record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiohead,
Roxette,
Girls At Our Best!,
Lightning Bolt,
Reagan Youth,
Lou Reed & John Cale,
Chris & Cosey,
Reuben Wilson,
Erasure,
The Fuzztones,
Arthur Verocai,
Nation of Ulysses,
The Misunderstood,
Ultimate Spinach,
Popol Vuh,
Tropical Tobacco,
The Shadows of Knight,
Visionaries,LMNO, T- Love & Iriscience,
Brand Nubian,
June Days,
Rekid,
Skaos,
Young Marble Giants,
The Men They Couldn't Hang,
The Mighty Diamonds,
The Five Americans,
Gerry Rafferty,
The West Coast Pop Art Experimental Band,
Malaria!,
The Neon Judgement,
Main Source,
Eli Mardock,
Hasil Adkins,
Rotary Connection,
The Standells,
Negative Approach,
Brick,
Kerrie Biddell,
Marc Romboy vs. Booka Shade,
The Gap Band,
The Wake,
Darondo,
Robert Görl,
Camron Feat. Jay Z And Juelz,
Art Ensemble Of Chicago,
Rosa Yemen,
Jawbox,
Franke,
Patti Smith,
Depeche Mode,
Big Daddy Kane,
Gregory Isaacs,
Roy Ayers Ubiquity,
Loose Ends,
Dual Sessions,
Mark Hollis,
Jacques Brel,
Moss Icon,
Bizarre Inc.,
Babytalk, Babytalk, Babytalk, Babytalk.
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.