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 Burkina and from Sao Paulo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and New York.
I'm losing my edge to the art-school Portland 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 güiro sounds with much patience.
I was there when Nile Rodgers 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 Mary Jane Girls to the funk kids.
I played it at the Crocodile.
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 Unwound. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Matthew Halsall 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Hot Snakes,
Crash Course in Science,
The Beau Brummels,
Peter Gordon & Love of Life Orchestra,
Anakelly,
Nick Cave & The Bad Seeds,
Peter and Kerry,
Sam Rivers,
Pere Ubu,
Super Lover Cee & Casanova Rud,
The Trojans,
Sad Lovers and Giants,
Von Mondo,
James Chance & The Contortions,
Dawn Penn,
Shuggie Otis,
Echospace,
X-102,
Dave Gahan,
Moss Icon,
Derrick May,
The Techniques,
Porter Ricks,
Funky Four + One,
The Pretty Things,
Urselle,
Rhythim Is Rhythim,
Bauhaus,
Hoover,
DNA,
The Modern Lovers,
Barrington Levy,
Bobby Byrd,
The Standells,
Deepchord,
Mad Mike,
Whodini,
Graham Central Station,
Boredoms,
Qualms,
Eric B and Rakim,
The Offenders,
Darondo,
Kevin Saunderson,
The Associates,
Desert Stars,
Deadbeat,
Freddie Wadling,
The Blues Magoos,
Jerry Gold Smith,
Pagans,
Blossom Toes,
Scrapy,
Technova,
Suburban Knight,
Slick Rick,
Yazoo, Yazoo, Yazoo, Yazoo.
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.