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 Jamaica and from Sao Paulo.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Shanghai and London.
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 1978 at the first Visage practice in a loft in London.
I was working on the 808 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 James Chance & The Contortions to the crunk kids.
I played it at the Spitz.
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 Laurel Aitken. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Pete Rock & C.L. Smooth record on German import.
I heard that you have a white label of every seminal rap 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 synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Peter and Kerry record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
Oblivians,
Saccharine Trust,
Tubeway Army,
U.S. Maple,
Gang of Four,
Connie Case,
Pulsallama,
Marine Girls,
Dorothy Ashby,
David McCallum,
Massinfluence,
Sad Lovers and Giants,
Buzzcocks,
Glenn Branca,
the Bar-Kays,
Alison Limerick,
Charles Mingus,
Symarip,
Rhythim Is Rhythim,
Porter Ricks,
Sam Rivers,
James White and The Blacks,
Neu!,
Nils Olav,
The Skatalites,
Roxy Music,
Sex Pistols,
Pet Shop Boys,
It's A Beautiful Day,
The Peanut Butter Conspiracy,
48th St. Collective,
The Sisters of Mercy,
CMW,
Pole,
Radio Birdman,
The Fire Engines,
Visionaries,LMNO, T- Love & Iriscience,
Pierre Henry,
Average White Band,
Reagan Youth,
Morten Harket,
Masters at Work,
the Swans,
Suburban Knight,
The Motions,
Lonnie Liston Smith,
Boredoms,
Chris Corsano,
Moby Grape,
Agitation Free,
Kaleidoscope,
Inner City,
The Knickerbockers,
the Sonics,
The Doobie Brothers,
Livin' Joy,
Richard Hell and the Voidoids,
Heaven 17,
Ornette Coleman,
PIL, PIL, PIL, PIL.
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.