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 Gabon and from Winnipeg.
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 1979.
I'm losing my edge.
To all the kids in Bremen and Manchester.
I'm losing my edge to the art-school Accra 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the organ 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 Louis and Bebe Barron to the jazz 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 Marc Romboy vs. Booka Shade. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Delon & Dalcan 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 '70s cut and another box set from the '90s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
EPMD,
Index,
Jesper Dahlback,
Gian Franco Pienzio,
Ice-T,
Lou Christie,
Bootsy's Rubber Band,
Main Source,
Al Stewart,
Intrusion,
Unwound,
The Wake,
Eve St. Jones,
Qualms,
Loose Ends,
Average White Band,
The New Christs,
Pierre Henry,
Procol Harum,
The Tremeloes,
Eddi Front,
The Pop Group,
Nick Cave & The Bad Seeds,
Suburban Knight,
Marc Almond,
Ornette Coleman,
Pole,
Rahsaan Roland Kirk,
The Trojans,
The Monks,
Hardrive,
The Monochrome Set,
Bill Near,
Quadrant,
Youth Brigade,
The Gories,
Kayak,
Howard Jones,
Junior Murvin,
Vainqueur,
Lizzy Mercier Descloux,
Grandmaster Flash,
Second Layer,
Nick Fraelich,
Lou Reed & John Cale,
The Vogues,
Con Funk Shun,
Ultimate Spinach,
Robert Görl,
Quando Quango,
Young Marble Giants,
Siouxsie and the Banshees,
Glenn Branca,
Susan Cadogan,
The Remains,
Soulsonic Force,
Scrapy,
Royal Trux,
Sixth Finger,
The Mighty Diamonds,
Brand Nubian,
The Beau Brummels, The Beau Brummels, The Beau Brummels, The Beau Brummels.
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.