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 Maldives and from Lille.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Mexico City.
I'm losing my edge to the art-school Seoul 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 Feelies practice in a loft in Haledon.
I was working on the synthesizer 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 Soft Cell to the rap 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 Black Pus. All the underground hits.
All Clear Light tracks. I heard you have a vinyl of every Pharaoh Sanders and the Fire Engines record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Yusef Lateef record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Almond,
Roy Ayers Ubiquity,
Janne Schatter,
The Vogues,
Pete Rock & C.L. Smooth,
Marmalade,
Smog,
Sparks,
The Cramps,
Soft Cell,
Boz Scaggs,
Henry Cow,
Sunsets and Hearts,
Girls At Our Best!,
Black Flag,
Marc Romboy vs. Booka Shade,
Rod Modell,
The Royal Family And The Poor,
Banda Bassotti,
Youth Brigade,
Joe Smooth,
Marcia Griffiths,
Swans,
Rahsaan Roland Kirk,
Marshall Jefferson,
Maleditus Sound,
Larry & the Blue Notes,
John Foxx,
Hasil Adkins,
The Pop Group,
Peter & Gordon,
Lindisfarne,
The Real Kids,
The Monks,
Siouxsie and the Banshees,
Soul Sonic Force,
Bluetip,
Severed Heads,
Quadrant,
The Sisters of Mercy,
The Seeds,
Unrelated Segments,
Von Mondo,
Bizarre Inc.,
Royal Trux,
Can,
Fela Kuti,
Ohio Players,
Pere Ubu,
The Count Five,
James White and The Blacks,
48th St. Collective,
The Beau Brummels,
Organ,
Bobby Hutcherson,
Rhythm & Sound,
Jerry Gold Smith,
Metal Thangz,
Super Lover Cee & Casanova Rud,
Hashim,
Judy Mowatt,
Lonnie Liston Smith,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.