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 Israel and from Glasgow.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Hong Kong.
I'm losing my edge to the art-school Woodstock 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 snare 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 Nation of Ulysses to the jazz kids.
I played it at Cafe Wha.
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 Throbbing Gristle. All the underground hits.
All Smog tracks. I heard you have a vinyl of every The Sound record on German import.
I heard that you have a white label of every seminal dance 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 rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a UT record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick May,
Lower 48,
Robert Görl,
Orchestral Manoeuvres in the Dark,
Faust,
Dorothy Ashby,
The Walker Brothers,
Arcadia,
Ronnie Foster,
The Knickerbockers,
John Holt,
Pantytec,
Technova,
8 Eyed Spy,
Visionaries,LMNO, T- Love & Iriscience,
A Certain Ratio,
Delon & Dalcan,
Funkadelic,
Tres Demented,
Soul Sonic Force,
H. Thieme,
Eyeless In Gaza,
Gerry Rafferty,
Yazoo,
Kerri Chandler,
Davy DMX,
China Crisis,
Cecil Taylor,
Fela Kuti,
Underground Resistance,
Lightning Bolt,
T. Rex,
Joey Negro,
Donald Byrd,
Public Image Ltd.,
The Associates,
Glambeats Corp.,
Ultramagnetic MC's,
Lalann,
The Mighty Diamonds,
Youth Brigade,
Visage,
Excepter,
The Kinks,
Gichy Dan,
Monolake,
The Durutti Column,
Art Ensemble Of Chicago,
Vainqueur,
Bush Tetras,
John Lydon,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Kerrie Biddell,
Major Organ And The Adding Machine,
The Blues Magoos,
The Fall,
The Pretty Things,
Negative Approach,
Rod Modell,
Severed Heads,
Spandau Ballet,
Dark Day,
Kayak,
Cameo, Cameo, Cameo, Cameo.
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.