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 Honduras and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1975.
I'm losing my edge.
To all the kids in Cairo and Accra.
I'm losing my edge to the art-school Beijing 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the theremin 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 Alton Ellis to the dance 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 Sister Nancy. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Yusef Lateef record on German import.
I heard that you have a white label of every seminal jazz 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 marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a the Soft Cell record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
Faraquet,
Minor Threat,
the Slits,
Kaleidoscope,
Gerry Rafferty,
Sandy B,
Roxette,
Rotary Connection,
Wings,
The Monochrome Set,
The Buckinghams,
Skarface,
Kurtis Blow,
Infiniti,
Heaven 17,
Kango’s Stein Massive,
Lalann,
Lyres,
Be Bop Deluxe,
Lucky Dragons,
Pole,
Section 25,
Jawbox,
Marc Romboy vs. Booka Shade,
Pantytec,
Sad Lovers and Giants,
The Moleskins,
U.S. Maple,
Cabaret Voltaire,
Ultramagnetic MC's,
Jeff Mills,
Steve Hackett,
Visage,
Urselle,
The Remains,
Boogie Down Productions,
ABBA,
Brick,
Unrelated Segments,
Notorious BIG live in Amsterdam,
Sam Rivers,
Letta Mbulu,
Jeru the Damaja,
The American Breed,
Nils Olav,
Tres Demented,
Scion,
Model 500,
Lafayette Afro Rock Band,
Byron Stingily,
Loose Ends,
Maleditus Sound,
The Move,
Camouflage,
Television Personalities,
Peter Gordon & Love of Life Orchestra,
The Blackbyrds,
Strawberry Alarm Clock,
Franke,
Q65, Q65, Q65, Q65.
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.