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 St Lucia and from Delhi.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1967 to 1975.
I'm losing my edge.
To all the kids in London and Calgary.
I'm losing my edge to the art-school New York 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 Siglo XX to the grunge 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 Kevin Saunderson. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every The United States of America 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 '70s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
Adolescents,
Pylon,
Jawbox,
Ohio Players,
Brand Nubian,
Gil Scott Heron,
Anthony Braxton,
Bootsy's Rubber Band,
Bob Dylan,
Black Moon,
Andrew Hill,
The Gap Band,
The Last Poets,
Graham Central Station,
Sonny Sharrock,
Bang on a Can All-Stars,
Fifty Foot Hose,
Ajijia Myrayebe,
DJ Sneak,
Accadde A,
Ultravox,
Public Image Ltd.,
Fluxion,
June of 44,
Rufus Thomas,
Freddie Wadling,
Alton Ellis,
The Moleskins,
The Five Americans,
Johnny Clarke,
Gregory Isaacs,
Heavy D & The Boyz,
Gil Scott-Heron and Jamie xx,
Leonard Cohen,
Deepchord,
Wasted Youth,
Zero Boys,
Jerry's Kids,
The Names,
The Tremeloes,
Clear Light,
Porter Ricks,
Rahsaan Roland Kirk,
Main Source,
Darondo,
AZ,
Oneida,
John Coltrane,
The United States of America,
John Lydon,
the Swans,
Echo & the Bunnymen,
The Chocolate Watch Band,
Audionom,
Lou Reed & John Cale,
Quando Quango,
Girls At Our Best!,
Electric Prunes,
The Smiths,
Von Mondo,
cv313,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.