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 Gambia and from Sao Paulo.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1968 to 1975.
I'm losing my edge.
To all the kids in Accra and Lille.
I'm losing my edge to the art-school Sao Paulo 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 guitar sounds with much patience.
I was there when Tom Verlaine 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 Banda Bassotti to the grunge kids.
I played it at Cafe Wha.
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 Deepchord. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every Liliput record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Archie Shepp record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dawn Penn,
Barclay James Harvest,
Unrelated Segments,
Vladislav Delay,
The J.B.'s,
The Gun Club,
Loose Ends,
The Grass Roots,
The Mummies,
Kevin Saunderson,
Art Ensemble Of Chicago,
Jandek,
Lou Reed & Metallica,
The Doobie Brothers,
Accadde A,
Todd Terry,
Sad Lovers and Giants,
Neu!,
Infiniti,
Susan Cadogan,
Pete Rock & C.L. Smooth,
The Count Five,
The Monks,
Mandrill,
Bizarre Inc.,
Roy Ayers,
Cabaret Voltaire,
John Cale,
The Fortunes,
Saccharine Trust,
Y Pants,
Los Fastidios,
T. Rex,
Rufus Thomas,
Rosa Yemen,
Ponytail,
Khruangbin,
Jerry's Kids,
Lizzy Mercier Descloux,
The Residents,
Deepchord,
The Walker Brothers,
the Sonics,
Max Romeo,
Soft Machine,
Godley & Creme,
Wighnomy Brothers & Robag Wruhme,
Anakelly,
Angels of Light & Akron/Family,
Flipper,
Man Eating Sloth,
The Music Machine,
A Flock of Seagulls,
Television Personalities,
Johnny Osbourne,
Donald Byrd,
Adolescents,
Con Funk Shun,
Letta Mbulu,
Q65,
Major Organ And The Adding Machine,
Alton Ellis,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.