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 Slovakia and from Sao Paulo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Jakarta and Seoul.
I'm losing my edge to the art-school Tokyo 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 marimba sounds with much patience.
I was there when Robert Palmer 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 Thinking Fellers Union Local 282 to the grunge 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 Joyce Sims. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every Kango’s Stein Massive 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 a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Terrestrial Tones record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
Godley & Creme,
Anthony Braxton,
Fear,
Joe Finger,
Bang On A Can,
Dorothy Ashby,
Aaron Thompson,
Public Enemy,
Cal Tjader,
Ohio Players,
Roy Ayers,
Ken Boothe,
The Five Americans,
the Bar-Kays,
John Lydon,
the Soft Cell,
The Angels of Light,
Steve Hackett,
Aural Exciters,
Dual Sessions,
Kaleidoscope,
Cluster,
The Dirtbombs,
Con Funk Shun,
Oblivians,
Boredoms,
The Skatalites,
Lucky Dragons,
Hoover,
cv313,
Deepchord,
Röyhkä ja Rättö ja Lehtisalo,
Bob Dylan,
Todd Terry,
Maurizio,
Ronan,
Oppenheimer Analysis,
Sonic Youth,
David McCallum,
Kerrie Biddell,
Agitation Free,
Lyres,
Procol Harum,
Bang on a Can All-Stars,
Glambeats Corp.,
The Doors,
Bobbi Humphrey,
Model 500,
Marc Romboy vs. Booka Shade,
Ornette Coleman,
Aloha Tigers,
The J.B.'s,
The Detroit Cobras,
Rekid,
Groovy Waters,
Tres Demented,
Kerri Chandler,
Jeff Lynne,
Ralphi Rosario,
The Offenders,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.