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 Thailand and from Halifax.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Edmonton and Winnipeg.
I'm losing my edge to the art-school Taipei 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Fort Wilson Riot to the techno 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 Moebius. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every Bill Wells 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 an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Letta Mbulu record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
the Germs,
The Smiths,
Masters at Work,
The New Christs,
Pierre Henry,
The Toasters,
David Bowie,
Bobby Hutcherson,
Smog,
Chris & Cosey,
D'Angelo,
The Pop Group,
Franke,
Tom Boy,
Fat Boys,
Darondo,
Toni Rubio,
Pussy Galore,
Marine Girls,
Aaron Thompson,
Moebius,
Maleditus Sound,
Ash Ra Tempel,
Symarip,
Japan,
Ten City,
Lizzy Mercier Descloux,
Negative Approach,
Rahsaan Roland Kirk,
Cybotron,
Zapp,
Harry Pussy,
Vladislav Delay,
Erasure,
Jandek,
Mr. Review,
Rakim,
The Flesh Eaters,
Kas Product,
Cluster,
Amon Düül II,
Richard Hell and the Voidoids,
Yellowson,
Terror Squad Feat. Camron,
The Music Machine,
Outsiders,
The Five Americans,
CMW,
the Slits,
Circle Jerks,
Ralphi Rosario,
Rapeman,
The Fugs,
Clear Light,
Joe Smooth,
Yaz,
Bluetip,
Monolake,
Average White Band,
Ossler,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.