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 Malaysia and from London.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Manila and Delhi.
I'm losing my edge to the art-school Philadelphia 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the guitar 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 Nation of Ulysses 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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Gabor Szabo tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious Big And Bone Thugs,
Darondo,
Gian Franco Pienzio,
Man Parrish,
Gil Scott-Heron & Brian Jackson,
Unrelated Segments,
Jerry Gold Smith,
Rosa Yemen,
cv313,
The Kinks,
Gabor Szabo,
Ten City,
Eyeless In Gaza,
Cymande,
Eric Dolphy,
ABC,
Trumans Water,
Adolescents,
Barrington Levy,
Juan Atkins,
Marcia Griffiths,
The Slits,
Soft Cell,
Bad Manners,
Wighnomy Brothers & Robag Wruhme,
Marshall Jefferson,
Kevin Saunderson,
Idris Muhammad,
Angels of Light & Akron/Family,
Spoonie Gee,
The Sound,
Slick Rick,
Oneida,
Index,
Kool Moe Dee,
Rhythm & Sound,
Neu!,
Fela Kuti,
The Golliwogs,
The Red Krayola,
Tomorrow,
Camberwell Now,
Scion,
Beasts of Bourbon,
Lebanon Hanover,
MDC,
Yaz,
Electric Prunes,
Mandrill,
Mary Jane Girls,
Depeche Mode,
The United States of America,
Kerri Chandler,
The Fugs,
Monolake,
Skarface,
Alton Ellis,
Talk Talk,
The Tremeloes,
Heavy D & The Boyz,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.