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 Cape Verde and from Glasgow.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Madrid.
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 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 Wally Richardson to the techno kids.
I played it at the Troubador.
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 AZ. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Monolake 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a K-Klass record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yazoo,
Cybotron,
Brothers Johnson,
Bill Near,
Dr. Dre and Snoop Doggy Dog,
Wings,
Thinking Fellers Union Local 282,
Saccharine Trust,
Lebanon Hanover,
Avey Tare's Slasher Flicks,
Lou Reed & John Cale,
Girls At Our Best!,
Isaac Hayes,
Marcia Griffiths,
Dennis Brown,
Mars,
David McCallum,
Thee Headcoats,
Audionom,
Gary Puckett & The Union Gap,
Qualms,
The Tremeloes,
Cecil Taylor,
June Days,
The Barracudas,
the Slits,
Sunsets and Hearts,
Pantytec,
E-Dancer,
Fugazi,
Orchestral Manoeuvres in the Dark,
John Foxx,
Pole,
Blossom Toes,
The Doors,
Malaria!,
Dead Boys,
The Monochrome Set,
Delta 5,
Pierre Henry,
Jawbox,
Moss Icon,
Brand Nubian,
Bobby Byrd,
Neil Young & Crazy Horse,
The American Breed,
Piero Umiliani,
Con Funk Shun,
the Human League,
The J.B.'s,
Liliput,
X-Ray Spex,
Visionaries,LMNO, T- Love & Iriscience,
Davy DMX,
Agitation Free,
R.M.O.,
Slick Rick,
Fifty Foot Hose,
Jacob Miller,
The Count Five,
Alphaville, Alphaville, Alphaville, Alphaville.
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.