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 Honduras and from Lyon.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Spokane.
I'm losing my edge to the art-school Portland 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Velvet Underground to the crunk kids.
I played it at Trash.
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 Spoonie Gee. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Roger Hodgson,
Agitation Free,
PIL,
Pete Rock & C.L. Smooth,
Pole,
Cluster,
Avey Tare,
48th St. Collective,
E-Dancer,
The American Breed,
Ken Boothe,
Average White Band,
Pierre Henry,
Sällskapet,
Interpol,
Darondo,
Ajijia Myrayebe,
The Human League,
The Gun Club,
Magma,
Young Marble Giants,
Roy Ayers Ubiquity,
Gary Puckett & The Union Gap,
The Neon Judgement,
Rosa Yemen,
Quantec,
Bizarre Inc.,
Lalo Schifrin,
Anakelly,
Terror Squad Feat. Camron,
the Sonics,
Subhumans,
Marcia Griffiths,
The Pretty Things,
ABBA,
Alphaville,
Howard Jones,
Surgeon,
Sight & Sound,
Flipper,
Angry Samoans,
The Last Poets,
Dawn Penn,
ABC,
Prince Buster,
Notorious BIG live in Amsterdam,
LL Cool J,
Lou Christie,
Pere Ubu,
Fort Wilson Riot,
Public Enemy,
Bob Dylan,
the Swans,
Black Flag,
Heavy D & The Boyz,
Bobby Sherman,
Bill Wells,
Robert Wyatt,
Echo & the Bunnymen,
The Angels of Light,
Black Sheep,
Agent Orange,
James White and The Blacks,
Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine.
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.