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 Mauritius and from Portland.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1970.
I'm losing my edge.
To all the kids in Salvador and Beijing.
I'm losing my edge to the art-school Winnipeg 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 marimba 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 Pole to the punk 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 Sonny Sharrock. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Blancmange record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Real Kids,
Jacob Miller,
Art Ensemble Of Chicago,
The Gories,
Gastr Del Sol,
Tres Demented,
These Immortal Souls,
The Cowsills,
A Flock of Seagulls,
Amon Düül II,
The Sound,
Wire,
Quadrant,
Swell Maps,
Jerry Gold Smith,
Interpol,
Sun Ra Arkestra,
Severed Heads,
Magazine,
T.S.O.L.,
The United States of America,
Cal Tjader,
Soft Machine,
Charles Mingus,
CMW,
Nico,
Grandmaster Flash,
Suicide,
Be Bop Deluxe,
Gang Green,
Anthony Braxton,
Silicon Teens,
Tropical Tobacco,
EPMD,
Mars,
Arab on Radar,
the Normal,
John Holt,
Adolescents,
Vaughan Mason & Crew,
Yazoo,
Liliput,
The Move,
The Skatalites,
Basic Channel,
The Zeros,
Cybotron,
Joe Smooth,
Faraquet,
Bobby Byrd,
Ornette Coleman,
World's Most,
Morten Harket,
Scientists,
The Mighty Diamonds,
Rufus Thomas,
The Black Dice,
Deakin,
Pantytec,
Oppenheimer Analysis,
Rowland S Howard / Lydia Lunch,
Tim Buckley,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.