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 Ivory Coast and from Columbus.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Manchester.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Soft Machine to the crunk kids.
I played it at the Roxy.
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 Lebanon Hanover. All the underground hits.
All Youth Brigade tracks. I heard you have a vinyl of every Lizzy Mercier Descloux 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronnie Foster,
the Association,
Bill Near,
The Blues Magoos,
Rod Modell,
This Heat,
The Searchers,
X-102,
The Sonics,
Dawn Penn,
Loose Ends,
Chris & Cosey,
Dual Sessions,
Isaac Hayes,
Frankie Knuckles,
Hardrive,
Sonny Sharrock,
Groovy Waters,
Bluetip,
Mad Mike,
Mo-Dettes,
Derrick May,
Banda Bassotti,
Fifty Foot Hose,
Angels of Light & Akron/Family,
Röyhkä ja Rättö ja Lehtisalo,
Jacob Miller,
Sight & Sound,
Maurizio,
Marc Almond,
Joyce Sims,
The Divine Comedy,
Sarah Menescal,
Bang on a Can All-Stars,
Big Daddy Kane,
Bob Dylan,
The Mummies,
June of 44,
Youth Brigade,
The Pretty Things,
Oblivians,
Faraquet,
Spandau Ballet,
The Fall,
Vladislav Delay,
Jeff Mills,
Marshall Jefferson,
Rites of Spring,
The Knickerbockers,
Andrew Ashong & Theo Parrish,
June Days,
John Lydon,
A Certain Ratio,
Dorothy Ashby,
DNA,
Moss Icon,
Cheater Slicks,
The Invisible,
Half Japanese,
Vainqueur,
Mars,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.