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 Marshall Islands and from Bologna.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Beijing and Copenhagen.
I'm losing my edge to the art-school Jakarta 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the 808 sounds with much patience.
I was there when David Bowie 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 Shuggie Otis to the electroclash 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 Joe Finger. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every Urselle record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your guitar and bought a sitar.
I hear that you and your band have sold your sitar and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
Brass Construction,
Hot Snakes,
The Slits,
Minnie Riperton,
Terrestrial Tones,
Young Marble Giants,
48th St. Collective,
Deutsch Amerikanische Freundschaft,
Judy Mowatt,
Bush Tetras,
Soul II Soul,
Saccharine Trust,
Rowland S Howard / Lydia Lunch,
Yazoo,
The Names,
Ultravox,
Joensuu 1685,
Visionaries,LMNO, T- Love & Iriscience,
Banda Bassotti,
Unrelated Segments,
The Real Kids,
Surgeon,
Crash Course in Science,
Suburban Knight,
Tears for Fears,
Anthony Braxton,
KRS-One,
David McCallum,
Fad Gadget,
Sun Ra Arkestra,
Frankie Knuckles,
Lou Reed & John Cale,
Todd Rundgren,
Kings Of Tomorrow,
UT,
Agitation Free,
The Vogues,
Junior Murvin,
Bobby Hutcherson,
Rod Modell,
Reuben Wilson,
Unwound,
Ralphi Rosario,
Lindisfarne,
Lakeside,
Mandrill,
Vladislav Delay,
Basic Channel,
Sad Lovers and Giants,
Nico,
David Bowie,
Bang on a Can All-Stars,
Thinking Fellers Union Local 282,
June of 44,
Severed Heads,
Scientists,
The Zeros,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.