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 Bahamas and from Houston.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Accra and Sao Paulo.
I'm losing my edge to the art-school Stockholm 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 mellotron 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 Johnny Osbourne to the jazz 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 Glenn Branca. All the underground hits.
All Audionom tracks. I heard you have a vinyl of every Albert Ayler record on German import.
I heard that you have a white label of every seminal electroclash 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 linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Misunderstood record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yazoo,
Wire,
Black Moon,
Marc Romboy vs. Booka Shade,
Talk Talk,
Country Teasers,
Sound Behaviour,
Lou Christie,
The Detroit Cobras,
the Soft Cell,
Janne Schatter,
The New Christs,
Heavy D & The Boyz,
MC5,
Visionaries,LMNO, T- Love & Iriscience,
Moby Grape,
A Flock of Seagulls,
Fifty Foot Hose,
Sex Pistols,
Lebanon Hanover,
E-Dancer,
Be Bop Deluxe,
The Kinks,
Harpers Bizarre,
Chris & Cosey,
The Move,
Eyeless In Gaza,
Banda Bassotti,
Bush Tetras,
Tommy Roe,
Tom Boy,
Wally Richardson,
Pulsallama,
Hardrive,
The Cowsills,
The Buckinghams,
Fugazi,
The Royal Family And The Poor,
Fort Wilson Riot,
The Black Dice,
Amon Düül II,
T. Rex,
Bad Manners,
Juan Atkins,
Duran Duran,
Kings Of Tomorrow,
Ash Ra Tempel,
Sparks,
This Heat,
Soft Cell,
Mary Jane Girls,
Mark Hollis,
Sarah Menescal,
The Victims,
Ossler,
The Mighty Diamonds,
Derrick May,
Kerri Chandler,
Donald Byrd,
Ornette Coleman,
Andrew Ashong & Theo Parrish,
Röyhkä ja Rättö ja Lehtisalo,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.