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 Gambia and from Mumbai.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Manchester and Woodstock.
I'm losing my edge to the art-school Philadelphia 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 arpeggiator 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 Pagans to the techno kids.
I played it at the Spitz.
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 Art Ensemble Of Chicago. All the underground hits.
All Hoover tracks. I heard you have a vinyl of every The Young Rascals record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a the Swans record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
AZ,
Echospace,
The New Christs,
Suburban Knight,
The Buckinghams,
The Kinks,
Fatback Band,
Chrome,
The Monks,
Ultimate Spinach,
The Blues Magoos,
Gabor Szabo,
The Leaves,
Saccharine Trust,
Surgeon,
It's A Beautiful Day,
Public Enemy,
Gian Franco Pienzio,
Essential Logic,
Girls At Our Best!,
Soft Machine,
Marine Girls,
Beasts of Bourbon,
Notorious BIG live in Amsterdam,
Juan Atkins,
Second Layer,
The Dave Clark Five,
Lakeside,
Bobbi Humphrey,
Unrelated Segments,
Ash Ra Tempel,
Brass Construction,
Pagans,
Arthur Verocai,
Joe Finger,
Pantaleimon,
The Blackbyrds,
Bizarre Inc.,
Ornette Coleman,
Cluster,
The Pop Group,
Young Marble Giants,
Pere Ubu,
the Bar-Kays,
Roy Ayers,
Mantronix,
Sugar Minott,
cv313,
Fifty Foot Hose,
Henry Cow,
Archie Shepp,
The Invisible,
Rhythm & Sound,
The Sisters of Mercy,
Harpers Bizarre,
The Modern Lovers,
Dual Sessions,
June Days,
Sun Ra Arkestra,
Steve Hackett,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.