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 Italy and from Manila.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1979.
I'm losing my edge.
To all the kids in Copenhagen and Paris.
I'm losing my edge to the art-school Beijing 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 Art Ensemble Of Chicago 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 Hoover. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Kool Moe Dee record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
Lakeside,
The Vogues,
Q and Not U,
Anakelly,
Barclay James Harvest,
The Pop Group,
James White and The Blacks,
Symarip,
The Monochrome Set,
Sparks,
Cabaret Voltaire,
Organ,
LL Cool J,
Chrome,
U.S. Maple,
The Names,
T. Rex,
The Smoke,
Amon Düül II,
Ultravox,
Heavy D & The Boyz,
David Axelrod,
Niagra,
Ronan,
Marshall Jefferson,
Crime,
Interpol,
Second Layer,
Little Man,
EPMD,
John Coltrane,
Main Source,
Nation of Ulysses,
Sad Lovers and Giants,
Underground Resistance,
Fat Boys,
Carl Craig,
Ralphi Rosario,
Eden Ahbez,
Section 25,
John Cale,
Mad Mike,
Chris & Cosey,
Black Moon,
Bobby Sherman,
Pierre Henry,
ABC,
Jeru the Damaja,
Nils Olav,
Marvin Gaye,
Aural Exciters,
The Raincoats,
Hashim,
The Gap Band,
Lou Reed,
Rufus Thomas,
Marcia Griffiths,
Lower 48,
Peter and Kerry,
Al Stewart,
Yazoo,
Erasure,
Smog,
Newcleus, Newcleus, Newcleus, Newcleus.
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.