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 Seychelles and from Cairo.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1972.
I'm losing my edge.
To all the kids in Portland and Hong Kong.
I'm losing my edge to the art-school Madrid 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 spring reverb 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 Das Ding to the crunk kids.
I played it at CBGB's.
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 Hoover. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every DeepChord presents Echospace record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton 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?
The Walker Brothers,
Lou Reed & Metallica,
Heaven 17,
Kerri Chandler,
The Dave Clark Five,
The Detroit Cobras,
The Motions,
Cecil Taylor,
The Chocolate Watch Band,
Lightning Bolt,
Symarip,
Freddie Wadling,
the Association,
The Durutti Column,
The Sonics,
Khruangbin,
the Normal,
Lou Reed,
La Düsseldorf,
Suicide,
Flash Fearless,
Barry Ungar,
Cabaret Voltaire,
Ultimate Spinach,
Spandau Ballet,
Yazoo,
Avey Tare & Kría Brekkan,
The Remains,
The Gun Club,
Deakin,
Andrew Ashong & Theo Parrish,
Supertramp,
Drive Like Jehu,
Marcia Griffiths,
Judy Mowatt,
Rufus Thomas,
Section 25,
Hot Snakes,
The Music Machine,
The Cowsills,
The Leaves,
DJ Sneak,
Porter Ricks,
Pagans,
CMW,
The Fall,
Dorothy Ashby,
Gian Franco Pienzio,
Zapp,
The New Christs,
Thinking Fellers Union Local 282,
Marine Girls,
Sunsets and Hearts,
Byron Stingily,
Nation of Ulysses,
Black Bananas,
Max Romeo,
Tim Buckley,
Joyce Sims,
Chrome,
Anthony Braxton,
Pete Rock & C.L. Smooth,
Grandmaster Flash and the Furious Five,
Parry Music, Parry Music, Parry Music, Parry Music.
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.