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 Bolivia and from Houston.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Portland and Columbus.
I'm losing my edge to the art-school Woodstock 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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator 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 Judy Mowatt to the grime 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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Index tracks. I heard you have a vinyl of every Black Sheep 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 a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
New Age Steppers,
Pierre Henry,
The American Breed,
the Sonics,
The Move,
Ornette Coleman,
The Cosmic Jokers,
Terry Callier,
The Pop Group,
Kaleidoscope,
Jawbox,
Rites of Spring,
Kas Product,
Idris Muhammad,
Organ,
Q and Not U,
London Community Gospel Choir,
Grandmaster Flash and the Furious Five,
Lafayette Afro Rock Band,
Magma,
X-Ray Spex,
Nation of Ulysses,
Circle Jerks,
Minnie Riperton,
Fad Gadget,
Severed Heads,
Barclay James Harvest,
10cc,
Masters at Work,
Ohio Players,
Drexciya,
AZ,
Major Organ And The Adding Machine,
The West Coast Pop Art Experimental Band,
The Cowsills,
Quando Quango,
Kurtis Blow,
Roxy Music,
Wighnomy Brothers & Robag Wruhme,
Minny Pops,
Henry Cow,
Deutsch Amerikanische Freundschaft,
EPMD,
Arcadia,
Junior Murvin,
The New Christs,
Soul II Soul,
Eli Mardock,
Godley & Creme,
Scion,
Sticky Fingaz feat. Raekwon,
Lou Christie,
Groovy Waters,
Funkadelic,
The Evens,
Cabaret Voltaire,
Essential Logic,
The Sound,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.