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 Burundi and from Houston.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Salvador and Edmonton.
I'm losing my edge to the art-school New York 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 1984 at the first Arcadia practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Donald Fagen 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 Mandrill to the jazz kids.
I played it at the 40 Watt.
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 Con Funk Shun. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every The Flesh Eaters record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Fuzztones record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
Ituana,
Avey Tare,
Pere Ubu,
Nico,
Cheater Slicks,
Massinfluence,
Marmalade,
Grey Daturas,
Kool Moe Dee,
Q and Not U,
James Chance & The Contortions,
Nils Olav,
X-101,
Infiniti,
Buzzcocks,
Drexciya,
Yaz,
Major Organ And The Adding Machine,
Wasted Youth,
June of 44,
Interpol,
Jeru the Damaja,
Schoolly D,
KRS-One,
Popol Vuh,
Girls At Our Best!,
Surgeon,
Don Cherry,
The Trojans,
Soul Sonic Force,
Banda Bassotti,
Richard Hell and the Voidoids,
Dead Boys,
The Dave Clark Five,
Archie Shepp,
Pantytec,
Amon Düül II,
Maleditus Sound,
Altered Images,
Derrick May,
Clear Light,
Visage,
Cecil Taylor,
Alison Limerick,
Stockholm Monsters,
The United States of America,
Captain Beefheart & His Magic Band,
Fort Wilson Riot,
The Fortunes,
The Wake,
Theoretical Girls,
Kas Product,
Mars,
Heavy D & The Boyz,
Robert Wyatt,
Radiopuhelimet,
Dorothy Ashby,
Black Bananas,
Rod Modell,
The Gun Club,
Justin Hinds & The Dominoes,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.