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 Gambia and from Tehran.
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 1975.
I'm losing my edge.
To all the kids in Paris and Lyon.
I'm losing my edge to the art-school Accra 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer 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 the Human League to the funk 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 Organ. All the underground hits.
All Rod Modell tracks. I heard you have a vinyl of every The Misunderstood record on German import.
I heard that you have a white label of every seminal funk 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 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Offenders record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
The Fortunes,
Spandau Ballet,
Marshall Jefferson,
It's A Beautiful Day,
Fort Wilson Riot,
Pole,
Alphaville,
the Human League,
Richard Hell and the Voidoids,
Jawbox,
Nick Fraelich,
Babytalk,
Tim Buckley,
The Music Machine,
Negative Approach,
Dead Boys,
the Sonics,
Eric Dolphy,
The Gladiators,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
48th St. Collective,
Aloha Tigers,
Kool Moe Dee,
Flash Fearless,
John Cale,
Yellowson,
Al Stewart,
The Modern Lovers,
The Litter,
China Crisis,
Wasted Youth,
The Detroit Cobras,
the Normal,
Oneida,
the Slits,
Minnie Riperton,
Andrew Ashong & Theo Parrish,
Althea and Donna,
Rites of Spring,
Derrick May,
Susan Cadogan,
Letta Mbulu,
Cecil Taylor,
Q and Not U,
Television Personalities,
Louis and Bebe Barron,
Black Moon,
Aural Exciters,
8 Eyed Spy,
Iggy Pop,
The American Breed,
The Electric Prunes,
The Move,
cv313,
Bobby Hutcherson,
Crispian St. Peters,
Crash Course in Science,
Gregory Isaacs,
World's Most,
Joe Finger,
Crime, Crime, Crime, Crime.
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.