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 Armenia and from London.
But I was there.
I was there in 1973.
I was there at the first Television 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 1965 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Glasgow.
I'm losing my edge to the art-school Houston 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 spring reverb 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 Slits to the disco 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 Oppenheimer Analysis. All the underground hits.
All Avey Tare & Kría Brekkan tracks. I heard you have a vinyl of every Kaleidoscope 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Red Lorry Yellow Lorry,
Bauhaus,
Eddi Front,
This Heat,
Lee Hazlewood,
Model 500,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Harpers Bizarre,
Ituana,
Avey Tare & Kría Brekkan,
Infiniti,
Notorious BIG live in Amsterdam,
Hashim,
Duran Duran,
Absolute Body Control,
Mr. Review,
Crooked Eye,
Ken Boothe,
Vladislav Delay,
Al Stewart,
Andrew Ashong & Theo Parrish,
DeepChord presents Echospace,
Nation of Ulysses,
June of 44,
Amon Düül II,
Flipper,
the Soft Cell,
Siouxsie and the Banshees,
Qualms,
Patti Smith,
The Fuzztones,
Gabor Szabo,
Jerry's Kids,
Section 25,
Gichy Dan,
Can,
Kurtis Blow,
Hot Snakes,
Sex Pistols,
Bobby Hutcherson,
Colin Newman,
Peter & Gordon,
Terrestrial Tones,
Idris Muhammad,
Swans,
Frankie Knuckles,
Scientists,
Kerri Chandler,
The Gladiators,
Lonnie Liston Smith,
Josef K,
Radiopuhelimet,
Alison Limerick,
Richard Hell and the Voidoids,
The Human League,
Eden Ahbez,
Con Funk Shun,
Young Marble Giants,
Rhythim Is Rhythim,
The Slackers,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.