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 the UAE and from Portland.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Houston and Lagos.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the marimba 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 Junior Murvin to the jazz kids.
I played it at the Troubador.
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 Be Bop Deluxe. All the underground hits.
All Talk Talk tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Lizzy Mercier Descloux,
Lightning Bolt,
Magazine,
Half Japanese,
Bang on a Can All-Stars,
Robert Wyatt,
Dr. Dre and Snoop Doggy Dog,
Vaughan Mason & Crew,
the Soft Cell,
The Evens,
The Black Dice,
Röyhkä ja Rättö ja Lehtisalo,
Lafayette Afro Rock Band,
Kaleidoscope,
Bobby Hutcherson,
Cluster,
OOIOO,
Freddie Wadling,
Thompson Twins,
Johnny Clarke,
Ponytail,
The Seeds,
The Electric Prunes,
World's Most,
Piero Umiliani,
Letta Mbulu,
Royal Trux,
Lower 48,
E-Dancer,
Radiopuhelimet,
Gary Puckett & The Union Gap,
Pharaoh Sanders and the Fire Engines,
Supertramp,
Los Fastidios,
Negative Approach,
Tim Buckley,
Susan Cadogan,
Davy DMX,
Lindisfarne,
Jacob Miller,
Gian Franco Pienzio,
Talk Talk,
Gil Scott-Heron and Jamie xx,
The Blackbyrds,
D'Angelo,
Gang Starr,
Banda Bassotti,
The Standells,
Mary Jane Girls,
Rotary Connection,
Underground Resistance,
Pylon,
Crispian St. Peters,
Metal Thangz,
Eve St. Jones,
The Detroit Cobras,
Brothers Johnson,
Qualms, Qualms, Qualms, Qualms.
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.