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 Finland and from Portland.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Philadelphia and Lagos.
I'm losing my edge to the art-school Shanghai 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 1978 at the first Visage practice in a loft in London.
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 Main Source to the techno kids.
I played it at the Troubador.
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 Sun City Girls. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Amazonics record on German import.
I heard that you have a white label of every seminal funk 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 a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül 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?
Rod Modell,
Marc Almond,
Jerry Gold Smith,
Reagan Youth,
Fluxion,
Bobby Sherman,
Joe Finger,
Juan Atkins,
Susan Cadogan,
Ajijia Myrayebe,
Wire,
The Offenders,
The Barracudas,
Ultimate Spinach,
Bootsy Collins,
Reuben Wilson,
Jimmy McGriff,
Charles Mingus,
Lindisfarne,
Pole,
Jeff Mills,
The Fuzztones,
Pulsallama,
Louis and Bebe Barron,
Groovy Waters,
Tropical Tobacco,
Glambeats Corp.,
David McCallum,
Underground Resistance,
Mars,
Avey Tare's Slasher Flicks,
Sight & Sound,
the Human League,
Yusef Lateef,
Gang Starr,
Donny Hathaway,
Be Bop Deluxe,
The Dead C,
Godley & Creme,
Bad Manners,
Lucky Dragons,
Cymande,
Kevin Saunderson,
DeepChord presents Echospace,
EPMD,
Thee Headcoats,
The Mojo Men,
Boz Scaggs,
Black Moon,
Das Ding,
The Invisible,
Quando Quango,
Crispian St. Peters,
The Chocolate Watch Band,
Ken Boothe,
Althea and Donna,
Siglo XX,
Monks,
Gong,
The Golliwogs,
Avey Tare & Kría Brekkan,
New Age Steppers,
Eric Copeland,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.