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 Korea North and from Columbus.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Delhi and New York.
I'm losing my edge to the art-school Seoul 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 organ 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 Sandy B to the grunge 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 Matthew Halsall. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every The Moleskins 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 '80s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Tremeloes record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Fania All-Stars,
Dual Sessions,
Ornette Coleman,
Scientists,
Minutemen,
Dead Boys,
The Move,
The Fall,
Isaac Hayes,
Guru Guru,
Marvin Gaye,
The Birthday Party,
Intrusion,
Smog,
Motorama,
The Star Department,
Lizzy Mercier Descloux,
Dave Gahan,
PIL,
Angels of Light & Akron/Family,
Gil Scott Heron,
Art Ensemble Of Chicago,
David McCallum,
Lindisfarne,
Unwound,
Little Man,
Jawbox,
Urselle,
Sparks,
Youth Brigade,
MC5,
Dawn Penn,
Rowland S Howard / Lydia Lunch,
Ultramagnetic MC's,
The Cure,
Harry Pussy,
The Doors,
Girls At Our Best!,
The Index,
Traffic Nightmare,
the Swans,
Rhythim Is Rhythim,
Colin Newman,
James Chance & The Contortions,
ABBA,
Gastr Del Sol,
Lyres,
Captain Beefheart & His Magic Band,
Gang Starr,
Depeche Mode,
Grandmaster Flash and the Furious Five,
Soft Machine,
Absolute Body Control,
New Order,
The Golliwogs,
Sad Lovers and Giants,
Scott Walker,
Second Layer,
L. Decosne,
Deakin,
Big Daddy Kane,
Lakeside,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.