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 Cyprus and from Madrid.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Manchester and Toronto.
I'm losing my edge to the art-school Houston 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 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 John Cale to the rock 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 Music Machine. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every The Jesus and Mary Chain 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 '60s cut and another box set from the '90s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Kerri Chandler record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
Notorious Big And Bone Thugs,
The Names,
Sad Lovers and Giants,
Average White Band,
Negative Approach,
the Association,
Pulsallama,
Rosa Yemen,
Delon & Dalcan,
Supertramp,
Prince Buster,
Deepchord,
Mad Mike,
Nation of Ulysses,
Rapeman,
Joyce Sims,
Eric Copeland,
The Busters,
Rakim,
Country Joe & The Fish,
Harpers Bizarre,
Bootsy Collins,
Gang Starr,
Quadrant,
Ossler,
LL Cool J,
The Sound,
Easy Going,
Skriet,
The Alarm Clocks,
MC5,
Aaron Thompson,
Wally Richardson,
Scion,
Animal Collective,
Donald Byrd,
CMW,
Derrick May,
Pantytec,
Curtis Mayfield,
Cluster,
Sun Ra Arkestra,
Zapp,
Aswad,
Pet Shop Boys,
Intrusion,
DeepChord presents Echospace,
Matthew Halsall,
Al Stewart,
Terrestrial Tones,
The Music Machine,
Kango’s Stein Massive,
This Heat,
Dead Boys,
Roger Hodgson,
Theoretical Girls,
Slick Rick,
Public Enemy,
Jimmy McGriff,
Monks,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City 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.