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 Estonia and from Milan.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Stockholm.
I'm losing my edge to the art-school Spokane 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 theremin sounds with much patience.
I was there when Donald Fagen 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 Ultimate Spinach to the techno kids.
I played it at the Astoria.
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 Cramps. All the underground hits.
All Danielle Patucci 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 rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a LL Cool J record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
Section 25,
Bronski Beat,
Fluxion,
Groovy Waters,
Bang on a Can All-Stars,
Magazine,
Sunsets and Hearts,
Bizarre Inc.,
Marc Almond,
Liliput,
Johnny Osbourne,
Warren Ellis,
Eric Dolphy,
Fatback Band,
Neu!,
Notorious BIG live in Amsterdam,
Theoretical Girls,
The Fugs,
Tommy Roe,
Sister Nancy,
Joe Smooth,
Lou Christie,
Accadde A,
Gong,
Eli Mardock,
Swans,
Bad Manners,
Kevin Saunderson,
Gastr Del Sol,
Easy Going,
Eric B and Rakim,
Angry Samoans,
Niagra,
Infiniti,
London Community Gospel Choir,
Marc Romboy vs. Booka Shade,
Fela Kuti,
Massinfluence,
8 Eyed Spy,
Rhythim Is Rhythim,
Joe Finger,
Susan Cadogan,
Yazoo,
Rufus Thomas,
Dead Boys,
Gregory Isaacs,
Mantronix,
The Music Machine,
Roy Ayers Ubiquity,
Roy Ayers,
a-ha,
The Blackbyrds,
Spandau Ballet,
Captain Beefheart & His Magic Band,
Pussy Galore,
Suicide,
Technova,
Jacques Brel,
Oppenheimer Analysis,
Cal Tjader,
Q65, Q65, Q65, Q65.
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.