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 Turkey and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1974.
I'm losing my edge.
To all the kids in Glasgow and New York.
I'm losing my edge to the art-school Tokyo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the oboe 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 the Soft Cell to the rock kids.
I played it at the Roxy.
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 The Music Machine. All the underground hits.
All Ituana tracks. I heard you have a vinyl of every Black Bananas record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Sisters of Mercy record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Stereo Dub,
Todd Terry,
E-Dancer,
Sonny Sharrock,
The Smiths,
Khruangbin,
Althea and Donna,
Q65,
The Standells,
Avey Tare & Kría Brekkan,
Joy Division,
Vaughan Mason & Crew,
The Electric Prunes,
Jawbox,
Pylon,
Yazoo,
Byron Stingily,
Reagan Youth,
The Black Dice,
Black Moon,
Newcleus,
Wolf Eyes,
The Fire Engines,
Kevin Saunderson,
Babytalk,
Laurel Aitken,
Easy Going,
PIL,
Soft Cell,
Q and Not U,
Grey Daturas,
Graham Central Station,
The Beau Brummels,
Joey Negro,
EPMD,
The Cramps,
New York Dolls,
The Kinks,
X-102,
Bronski Beat,
Bad Manners,
Frankie Knuckles,
Shuggie Otis,
Jandek,
The J.B.'s,
Jacques Brel,
Black Sheep,
The Gap Band,
Joyce Sims,
The Velvet Underground,
Roxette,
The Toasters,
Terrestrial Tones,
Teenage Jesus and the Jerks,
Tomorrow,
Roy Ayers Ubiquity,
Country Joe & The Fish,
Average White Band,
Joe Finger,
Bill Near,
Fela Kuti, Fela Kuti, Fela Kuti, Fela Kuti.
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.