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 Tanzania and from Portland.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Madrid and Manila.
I'm losing my edge to the art-school Milan 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 theremin 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 Interpol to the electroclash 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 Thee Headcoats. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every The Blackbyrds record on German import.
I heard that you have a white label of every seminal crunk 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 mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Traffic Nightmare,
Supertramp,
Amazonics,
Oppenheimer Analysis,
Echo & the Bunnymen,
Soft Machine,
Gil Scott Heron,
Donny Hathaway,
Radio Birdman,
The Fortunes,
Grauzone,
Slave,
MC5,
Maleditus Sound,
Man Eating Sloth,
James White and The Blacks,
Jeru the Damaja,
the Soft Cell,
Nas,
Laurel Aitken,
Gabor Szabo,
Curtis Mayfield,
Archie Shepp,
Lucky Dragons,
Crime,
Y Pants,
Vainqueur,
Bootsy Collins,
Anakelly,
Lebanon Hanover,
Eden Ahbez,
James Chance & The Contortions,
Interpol,
Tomorrow,
The Cramps,
Ronnie Foster,
The Associates,
Super Lover Cee & Casanova Rud,
Black Flag,
Avey Tare & Kría Brekkan,
The Cosmic Jokers,
Bang on a Can All-Stars,
Malaria!,
Icehouse,
Lungfish,
Suicide,
Masters at Work,
Au Pairs,
Country Teasers,
Harpers Bizarre,
The Buckinghams,
Eric B and Rakim,
48th St. Collective,
Marc Almond,
Jeff Lynne,
Scott Walker,
Sister Nancy,
Severed Heads,
Rotary Connection,
Gang of Four,
The Standells,
Make Up,
X-102, X-102, X-102, X-102.
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.