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 Venezuela and from Lille.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Lille and Bremen.
I'm losing my edge to the art-school Hong Kong 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 Chic practice in a loft in New York.
I was working on the marimba 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 Mo-Dettes to the electroclash kids.
I played it at the Astoria.
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 Be Bop Deluxe. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every Susan Cadogan 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 '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
The Vogues,
Minny Pops,
Blossom Toes,
Girls At Our Best!,
Anthony Braxton,
UT,
The Men They Couldn't Hang,
Oneida,
Kerri Chandler,
Pierre Henry,
Joyce Sims,
Boogie Down Productions,
Parry Music,
Siglo XX,
Sonic Youth,
Hot Snakes,
The Chocolate Watch Band,
Marmalade,
Black Moon,
Au Pairs,
Rod Modell,
Glenn Branca,
Beasts of Bourbon,
Laurel Aitken,
Archie Shepp,
Oblivians,
China Crisis,
Agitation Free,
Andrew Hill,
Heaven 17,
Justin Hinds & The Dominoes,
Bobby Hutcherson,
The Count Five,
Albert Ayler,
The Detroit Cobras,
Robert Hood,
John Cale,
Zapp,
Neil Young,
Gil Scott-Heron & Brian Jackson,
X-101,
Roger Hodgson,
The Offenders,
Boz Scaggs,
Can,
Heavy D & The Boyz,
Quadrant,
Public Image Ltd.,
Minnie Riperton,
Neu!,
The Velvet Underground,
Magazine,
The Pop Group,
Babytalk,
Shuggie Otis,
Larry & the Blue Notes,
Letta Mbulu,
Public Enemy,
Arthur Verocai,
The Residents,
Bobby Byrd,
Richard Hell and the Voidoids,
Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse.
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.