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 Romania and from Portland.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1974.
I'm losing my edge.
To all the kids in Manchester and Beijing.
I'm losing my edge to the art-school Bologna 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Sandy B to the disco 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 The Dave Clark Five. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Joey Negro record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
June Days,
Flamin' Groovies,
Scrapy,
The Music Machine,
Erykah Badu,
Bush Tetras,
Accadde A,
Radiopuhelimet,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Gun Club,
Lyres,
The Fortunes,
The Divine Comedy,
Warsaw,
Bobby Sherman,
Severed Heads,
The Barracudas,
Ultimate Spinach,
Gang Green,
Harmonia,
The Velvet Underground,
JFA,
The Martian,
The American Breed,
Flash Fearless,
Stiv Bators,
Deutsch Amerikanische Freundschaft,
X-101,
Deakin,
Barrington Levy,
Tropical Tobacco,
Delta 5,
Technova,
Eric Dolphy,
Massinfluence,
Dead Boys,
Chrome,
Youth Brigade,
Y Pants,
The Human League,
Eve St. Jones,
Toni Rubio,
Fluxion,
Barry Ungar,
R.M.O.,
The Sisters of Mercy,
The Busters,
The Count Five,
Ultramagnetic MC's,
Faraquet,
Kauko Röyhkä ja Narttu,
Eden Ahbez,
the Sonics,
48th St. Collective,
Lee Hazlewood,
Throbbing Gristle,
FM Einheit,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.