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 Iceland and from Jakarta.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Manchester and Winnipeg.
I'm losing my edge to the art-school Spokane 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 arpeggiator 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 ABBA to the electroclash kids.
I played it at the Roxy.
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 Joe Finger. All the underground hits.
All The Real Kids tracks. I heard you have a vinyl of every Ken Boothe 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 '80s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sad Lovers and Giants record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Das Ding,
Can,
The Victims,
U.S. Maple,
Visage,
Dennis Brown,
The Kinks,
Echospace,
Nation of Ulysses,
Danielle Patucci,
Deepchord,
Drexciya,
Judy Mowatt,
Bauhaus,
Unrelated Segments,
The Blackbyrds,
The Gap Band,
Tomorrow,
The Alarm Clocks,
Blake Baxter,
Spoonie Gee,
Funky Four + One,
Reagan Youth,
Sugar Minott,
Al Stewart,
Quando Quango,
Inner City,
Animal Collective,
The Slits,
Goldenarms,
Barclay James Harvest,
Kevin Saunderson,
kango's stein massive,
Kool G Rap & DJ Polo,
Minnie Riperton,
Ponytail,
The Moody Blues,
Colin Newman,
Byron Stingily,
Nick Fraelich,
OOIOO,
Pere Ubu,
Television,
Pet Shop Boys,
Rosa Yemen,
Amazonics,
The Fire Engines,
Gil Scott Heron,
Ultravox,
Young Marble Giants,
Masters at Work,
Cabaret Voltaire,
Black Pus,
DJ Style,
The Monochrome Set,
Darondo,
Hashim,
Schoolly D,
The Trojans,
Procol Harum,
Bang On A Can,
Gang of Four,
Alice Coltrane,
Chris & Cosey,
Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse.
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.