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 Angola and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Philadelphia.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Sunsets and Hearts to the punk kids.
I played it at the 40 Watt.
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 Human League. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every a-ha record on German import.
I heard that you have a white label of every seminal grunge 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 guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Rotary Connection record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MC5,
Donald Byrd,
Index,
This Heat,
The Electric Prunes,
Monolake,
Kool G Rap & DJ Polo,
the Swans,
The Names,
Joyce Sims,
Fad Gadget,
Shoche,
Aural Exciters,
Soft Cell,
Barry Ungar,
Scratch Acid,
David Axelrod,
Charles Mingus,
Desert Stars,
Grandmaster Flash and the Furious Five,
DNA,
Ponytail,
Soulsonic Force,
Gang Gang Dance,
Bush Tetras,
Magazine,
The Pop Group,
Drexciya,
David McCallum,
Patti Smith,
Lebanon Hanover,
The Associates,
Ten City,
Bill Wells,
Deadbeat,
Sly & The Family Stone,
E-Dancer,
The Monks,
Big Daddy Kane,
Soft Machine,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Andrew Ashong & Theo Parrish,
Intrusion,
Public Image Ltd.,
Oppenheimer Analysis,
Gil Scott Heron,
Pussy Galore,
Malaria!,
Accadde A,
Super Lover Cee & Casanova Rud,
Amon Düül II,
Dark Day,
Marc Romboy vs. Booka Shade,
Lou Christie,
Maleditus Sound,
Section 25,
Sad Lovers and Giants,
Delta 5,
Eve St. Jones,
The Gories, The Gories, The Gories, The Gories.
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.