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 Congo and from Edmonton.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Tokyo.
I'm losing my edge to the art-school Lagos 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 Soul II Soul to the rap 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 Dennis Brown. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Lyres record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
Youth Brigade,
Can,
The Moleskins,
Mantronix,
Eli Mardock,
Toni Rubio,
Wire,
Eddi Front,
The Names,
Throbbing Gristle,
Vaughan Mason & Crew,
Gichy Dan,
Louis and Bebe Barron,
Gian Franco Pienzio,
Sällskapet,
Sex Pistols,
Depeche Mode,
Gabor Szabo,
World's Most,
MC5,
A Certain Ratio,
New Age Steppers,
Slick Rick,
Hardrive,
The J.B.'s,
Colin Newman,
Spandau Ballet,
Major Organ And The Adding Machine,
Brothers Johnson,
Severed Heads,
Grauzone,
Curtis Mayfield,
B.T. Express,
Andrew Ashong & Theo Parrish,
Excepter,
James Chance & The Contortions,
Warren Ellis,
Barclay James Harvest,
Derrick May,
Art Ensemble Of Chicago,
Crime,
Surgeon,
Chris & Cosey,
The Shadows of Knight,
Ornette Coleman,
The Flesh Eaters,
Angels of Light & Akron/Family,
Matthew Bourne,
Arcadia,
Josef K,
Barry Ungar,
Moebius,
Glenn Branca,
Dead Boys,
Inner City,
Thee Headcoats,
Rakim,
the Bar-Kays,
Laurel Aitken,
Black Bananas,
The Black Dice,
Fear, Fear, Fear, Fear.
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.