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 Papua New Guinea and from Philadelphia.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1967 to 1972.
I'm losing my edge.
To all the kids in Lyon and Edmonton.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Andrew Ashong & Theo Parrish to the crunk 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 the Germs. All the underground hits.
All Throbbing Gristle tracks. I heard you have a vinyl of every Archie Shepp record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Babytalk record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
Gil Scott-Heron & Brian Jackson,
The Star Department,
Fela Kuti,
Patti Smith,
KRS-One,
Faraquet,
Jeff Mills,
Danielle Patucci,
Wire,
The Beau Brummels,
Roger Hodgson,
The Jesus and Mary Chain,
Shuggie Otis,
Kool Moe Dee,
Gerry Rafferty,
Rotary Connection,
Andrew Ashong & Theo Parrish,
Mantronix,
Kaleidoscope,
Black Pus,
Pharaoh Sanders and the Fire Engines,
Franke,
Yazoo,
Todd Rundgren,
Bizarre Inc.,
Reagan Youth,
Don Cherry,
Cluster,
Gil Scott-Heron and Jamie xx,
a-ha,
John Holt,
Section 25,
Lucky Dragons,
The Motions,
Marcia Griffiths,
Jimmy McGriff,
The Martian,
The Trojans,
Duran Duran,
Lower 48,
Eric B and Rakim,
Deakin,
Man Parrish,
Thee Headcoats,
Notorious BIG live in Amsterdam,
The Golliwogs,
The Gap Band,
Sonny Sharrock,
Gary Puckett & The Union Gap,
The Gladiators,
Robert Wyatt,
The Seeds,
the Germs,
Banda Bassotti,
Radio Birdman,
Pere Ubu,
Interpol,
Pulsallama,
The Kinks,
UT,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.