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 Seychelles and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 Lagos and Columbus.
I'm losing my edge to the art-school Toronto 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 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 Erasure to the punk kids.
I played it at Trash.
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 Goldenarms. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every Roy Ayers Ubiquity 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 '60s cut and another box set from the '80s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Fugs record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dead C,
Rahsaan Roland Kirk,
Brothers Johnson,
Richard Hell and the Voidoids,
John Foxx,
Chris Corsano,
Curtis Mayfield,
Chris & Cosey,
The Offenders,
Slave,
Los Fastidios,
Barclay James Harvest,
Masters at Work,
the Sonics,
Nas,
Skarface,
Oppenheimer Analysis,
Angels of Light & Akron/Family,
the Bar-Kays,
London Community Gospel Choir,
X-102,
Rhythm & Sound,
Lebanon Hanover,
Roy Ayers,
De La Soul & Jungle Brothers,
Youth Brigade,
Rufus Thomas,
Frankie Knuckles,
Blake Baxter,
DJ Style,
Fort Wilson Riot,
Judy Mowatt,
Dave Gahan,
Amon Düül,
Lightning Bolt,
The Black Dice,
Supertramp,
Gang Green,
Gil Scott-Heron & Brian Jackson,
Procol Harum,
Neil Young & Crazy Horse,
Sex Pistols,
Rapeman,
The Associates,
Bang on a Can All-Stars,
Chrome,
Girls At Our Best!,
EPMD,
Half Japanese,
kango's stein massive,
Subhumans,
Siglo XX,
Pussy Galore,
Metal Thangz,
Marmalade,
Kas Product,
Ohio Players,
Crash Course in Science,
Reuben Wilson,
Amazonics,
Howard Jones,
Kurtis Blow,
The Skatalites,
Eric Copeland,
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.