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 Morocco and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1971.
I'm losing my edge.
To all the kids in Shanghai and Accra.
I'm losing my edge to the art-school Stockholm 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the organ sounds with much patience.
I was there when Michael McDonald 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 Gil Scott Heron to the crunk kids.
I played it at the 40 Watt.
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 Y Pants. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Letta Mbulu record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
Bobby Sherman,
DeepChord presents Echospace,
Visage,
Scrapy,
Babytalk,
Buzzcocks,
48th St. Collective,
John Foxx,
Section 25,
The Fuzztones,
Ice-T,
Crime,
The Grass Roots,
Reagan Youth,
Robert Görl,
Pole,
Harmonia,
Steve Hackett,
Mars,
Notorious BIG live in Amsterdam,
Max Romeo,
CMW,
Q65,
Dr. Dre and Snoop Doggy Dog,
The Evens,
Barclay James Harvest,
Camberwell Now,
Metal Thangz,
Skriet,
Peter Gordon & Love of Life Orchestra,
Unrelated Segments,
Chris Corsano,
Grandmaster Flash and the Furious Five,
The Moody Blues,
Grandmaster Flash,
Derrick May,
Soulsonic Force,
Man Parrish,
Rhythm & Sound,
Cabaret Voltaire,
The Kinks,
New York Dolls,
Rhythim Is Rhythim,
Suicide,
The Star Department,
Goldenarms,
Alison Limerick,
Deepchord,
Adolescents,
Tomorrow,
Rekid,
Roxette,
Avey Tare's Slasher Flicks,
Ornette Coleman,
Kings Of Tomorrow,
Strawberry Alarm Clock,
Radio Birdman,
The Last Poets,
New Order,
MC5,
Ossler,
Glenn Branca,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.