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 Zambia and from Mumbai.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Portland and Bremen.
I'm losing my edge to the art-school Shanghai 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 Chic practice in a loft in New York.
I was working on the guitar 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 Kerrie Biddell to the crunk 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 Aaron Thompson. All the underground hits.
All John Lydon tracks. I heard you have a vinyl of every Eli Mardock 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 '50s cut and another box set from the '90s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
The Doobie Brothers,
Jerry Gold Smith,
Massinfluence,
Althea and Donna,
Ralphi Rosario,
Grey Daturas,
Accadde A,
Scratch Acid,
Heavy D & The Boyz,
Shuggie Otis,
Rahsaan Roland Kirk,
Echospace,
Blake Baxter,
Von Mondo,
Sixth Finger,
Minor Threat,
The Skatalites,
Zapp,
Howard Jones,
Selector Dub Narcotic,
James White and The Blacks,
Yellowson,
Connie Case,
The Trojans,
Marvin Gaye,
Darondo,
Lafayette Afro Rock Band,
Archie Shepp,
Television Personalities,
Moebius,
Inner City,
The Pop Group,
H. Thieme,
Barclay James Harvest,
Soft Cell,
Skriet,
Adolescents,
Ossler,
Ten City,
Fifty Foot Hose,
KRS-One,
The Count Five,
The Fugs,
Essential Logic,
Donald Byrd,
Scientists,
Clear Light,
Funky Four + One,
Bobbi Humphrey,
Masters at Work,
Bronski Beat,
Scan 7,
Boredoms,
June Days,
The Knickerbockers,
Sight & Sound,
Funkadelic,
The Doors, The Doors, The Doors, The Doors.
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.