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 Jordan and from Salvador.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Manila and New York.
I'm losing my edge to the art-school Lagos 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the oboe 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 Jerry Gold Smith to the dance kids.
I played it at Cafe Wha.
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 Swell Maps. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every Richard Hell and the Voidoids record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your snare and bought a 808.
I hear that you and your band have sold your 808 and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
Scott Walker,
Lebanon Hanover,
The Young Rascals,
Rod Modell,
The Five Americans,
Eddi Front,
The Motions,
Spandau Ballet,
Simply Red,
Lakeside,
Section 25,
Al Stewart,
Stockholm Monsters,
Pulsallama,
Kango’s Stein Massive,
The Selecter,
Kool G Rap & DJ Polo,
Kenny Larkin,
Ice-T,
Marc Almond,
Ajijia Myrayebe,
Todd Rundgren,
The Cosmic Jokers,
Eyeless In Gaza,
Lonnie Liston Smith,
Gian Franco Pienzio,
Arcadia,
Brand Nubian,
The Doors,
The Monks,
The Associates,
Strawberry Alarm Clock,
The Shadows of Knight,
Sight & Sound,
the Bar-Kays,
Alison Limerick,
Cluster,
Scrapy,
Man Parrish,
Robert Hood,
The J.B.'s,
Rhythim Is Rhythim,
The Sound,
Swell Maps,
Pagans,
Yellowson,
Bill Wells,
Depeche Mode,
Art Ensemble Of Chicago,
The Cowsills,
KRS-One,
Minor Threat,
A Flock of Seagulls,
Eric Dolphy,
Fluxion,
Alice Coltrane,
Reuben Wilson,
Harry Pussy,
Clear Light,
Jeff Lynne,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
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.