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 Ethiopia and from Milan.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Madrid.
I'm losing my edge to the art-school Tokyo 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Louis and Bebe Barron to the crunk kids.
I played it at the Hacienda.
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 Selecter. All the underground hits.
All Severed Heads tracks. I heard you have a vinyl of every Gang Starr 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 '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agitation Free,
Make Up,
Byron Stingily,
The Move,
Suburban Knight,
DJ Style,
Roxy Music,
Howard Jones,
Kaleidoscope,
Pylon,
cv313,
Ash Ra Tempel,
Monks,
The Cowsills,
MC5,
Jesper Dahlback,
Neil Young,
The Divine Comedy,
Grandmaster Flash,
Inner City,
Lalo Schifrin,
Barbara Tucker,
The Detroit Cobras,
The Real Kids,
Sight & Sound,
The Gories,
Swans,
Easy Going,
Camberwell Now,
Al Stewart,
The Durutti Column,
Excepter,
Blake Baxter,
the Fania All-Stars,
Junior Murvin,
Ralphi Rosario,
The Music Machine,
Eyeless In Gaza,
Kurtis Blow,
The Motions,
Saccharine Trust,
Bill Wells,
Dawn Penn,
The Modern Lovers,
Rod Modell,
Gang of Four,
Oblivians,
Pulsallama,
Vladislav Delay,
the Bar-Kays,
Alison Limerick,
the Germs,
Oppenheimer Analysis,
Electric Prunes,
Todd Terry,
Quando Quango,
Technova,
Joy Division,
Sexual Harrassment,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.