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 Serbia and from Houston.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Sao Paulo.
I'm losing my edge to the art-school Mexico City 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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer 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 Tom Boy to the grime 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 Moebius. All the underground hits.
All The Mighty Diamonds tracks. I heard you have a vinyl of every Johnny Osbourne 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 '80s cut and another box set from the '90s.
I hear you're buying an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Sisters of Mercy record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heaven 17,
Pierre Henry,
The Five Americans,
Brand Nubian,
Nirvana,
Charles Mingus,
Brothers Johnson,
Al Stewart,
Barclay James Harvest,
Pagans,
Blancmange,
X-Ray Spex,
Don Cherry,
Avey Tare,
The Music Machine,
Avey Tare & Kría Brekkan,
DeepChord presents Echospace,
Symarip,
Camberwell Now,
10cc,
Lizzy Mercier Descloux,
Danielle Patucci,
The Standells,
Marshall Jefferson,
Yusef Lateef,
Boogie Down Productions,
Bobby Sherman,
Soft Machine,
Fad Gadget,
Joe Smooth,
The Blackbyrds,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Amon Düül,
48th St. Collective,
Terry Callier,
Marc Romboy vs. Booka Shade,
Q65,
David McCallum,
Camouflage,
Cymande,
Sparks,
Buzzcocks,
Supertramp,
Sunsets and Hearts,
Be Bop Deluxe,
Eric Dolphy,
The United States of America,
Tres Demented,
Bobbi Humphrey,
T.S.O.L.,
Visage,
Bush Tetras,
Red Lorry Yellow Lorry,
Jerry Gold Smith,
Peter and Kerry,
Zapp,
Roger Hodgson,
Marcia Griffiths,
The Offenders,
Grauzone,
Donny Hathaway,
The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy.
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.