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 Turkey and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1979.
I'm losing my edge.
To all the kids in Houston and Houston.
I'm losing my edge to the art-school Glasgow 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 1978 at the first Visage practice in a loft in London.
I was working on the rhodes sounds with much patience.
I was there when Nile Rodgers 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 Blake Baxter to the grime kids.
I played it at the Roxy.
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 Bobby Byrd. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every Cecil Taylor record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Flipper record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
Kurtis Blow,
Average White Band,
Ornette Coleman,
Spandau Ballet,
Sugar Minott,
Pole,
The Grass Roots,
Ken Boothe,
The Leaves,
Pantaleimon,
Vainqueur,
Sparks,
Mantronix,
Matthew Bourne,
Wighnomy Brothers & Robag Wruhme,
Skaos,
Ultravox,
Saccharine Trust,
Porter Ricks,
Ludus,
Rowland S Howard / Lydia Lunch,
Captain Beefheart & His Magic Band,
AZ,
the Association,
The Gun Club,
Drive Like Jehu,
Yellowson,
The Doors,
D'Angelo,
Maurizio,
Animal Collective,
Surgeon,
Marc Romboy vs. Booka Shade,
Manfred Mann's Earth Band,
Donald Byrd,
the Slits,
The Mummies,
Malaria!,
Swell Maps,
Sun Ra,
Von Mondo,
Deutsch Amerikanische Freundschaft,
Major Organ And The Adding Machine,
Liliput,
Half Japanese,
Quando Quango,
Glenn Branca,
Niagra,
Gang Gang Dance,
DJ Sneak,
L. Decosne,
Icehouse,
Echospace,
Hashim,
Boz Scaggs,
Jandek,
Delta 5,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.