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 Hong Kong.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Cairo.
I'm losing my edge to the art-school Mumbai 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the linndrum 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 Jerry Gold Smith to the techno 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 Todd Terry. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every Louis and Bebe Barron 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Gian Franco Pienzio record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joey Negro,
Eli Mardock,
The Birthday Party,
E-Dancer,
Ultimate Spinach,
Todd Rundgren,
Quando Quango,
Liaisons Dangereuses,
Bauhaus,
Curtis Mayfield,
Scientists,
The Cosmic Jokers,
Zapp,
Kevin Saunderson,
Teenage Jesus and the Jerks,
Derrick Morgan,
Eurythmics,
The Busters,
The Fire Engines,
Big Daddy Kane,
Rhythm & Sound,
The Index,
Visage,
Sunsets and Hearts,
Faust,
The Smoke,
Grandmaster Flash and the Furious Five,
Mars,
John Lydon,
Y Pants,
The Barracudas,
In Retrospect,
The Knickerbockers,
Moebius,
The Fall,
Davy DMX,
The Velvet Underground,
Avey Tare,
The Neon Judgement,
Josef K,
The Durutti Column,
The United States of America,
Lightning Bolt,
Tropical Tobacco,
Colin Newman,
F. McDonald,
China Crisis,
Jeru the Damaja,
Blake Baxter,
The New Christs,
Stockholm Monsters,
the Soft Cell,
Matthew Bourne,
Boredoms,
Camron Feat. Jay Z And Juelz,
the Human League,
Ponytail,
Peter and Kerry,
Mo-Dettes,
Fat Boys,
The Modern Lovers,
Bob Dylan,
Chrome, Chrome, Chrome, Chrome.
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.