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 Switzerland and from Shanghai.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1961 to 1977.
I'm losing my edge.
To all the kids in New York and Portland.
I'm losing my edge to the art-school Cairo 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 organ 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 The Black Dice to the electroclash kids.
I played it at the Crocodile.
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 Association. All the underground hits.
All Bluetip tracks. I heard you have a vinyl of every FM Einheit record on German import.
I heard that you have a white label of every seminal funk 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 an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear that you and your band have sold your oboe 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?
Marc Almond,
The Kinks,
Dead Boys,
Pharoah Sanders,
E-Dancer,
Rosa Yemen,
The Raincoats,
Godley & Creme,
Audionom,
The Grass Roots,
Eddi Front,
Lou Christie,
Buzzcocks,
Graham Central Station,
Kerrie Biddell,
The Dirtbombs,
Gang of Four,
Country Joe & The Fish,
Funkadelic,
The Flesh Eaters,
Grauzone,
Harmonia,
the Association,
Moby Grape,
Boz Scaggs,
Depeche Mode,
Public Image Ltd.,
Can,
Trumans Water,
Gian Franco Pienzio,
Barry Ungar,
Marine Girls,
Piero Umiliani,
Teenage Jesus and the Jerks,
The Busters,
Scion,
Black Bananas,
Bill Near,
Gil Scott-Heron & Brian Jackson,
Marcia Griffiths,
Ultimate Spinach,
David Axelrod,
Frankie Knuckles,
Super Lover Cee & Casanova Rud,
Model 500,
Royal Trux,
Boredoms,
Hoover,
Crash Course in Science,
JFA,
Sun Ra Arkestra,
Jimmy McGriff,
Intrusion,
The Gap Band,
Grandmaster Flash and the Furious Five,
Unrelated Segments,
Aloha Tigers,
Ronnie Foster,
Boogie Down Productions,
Marshall Jefferson,
China Crisis,
Red Lorry Yellow Lorry,
Jacques Brel,
Radiopuhelimet,
The Smoke, The Smoke, The Smoke, The Smoke.
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.