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 Madagascar and from New York.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Portland and Hong Kong.
I'm losing my edge to the art-school Edmonton 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 1978 at the first Visage practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when David Bowie 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 Monks to the rap kids.
I played it at the Troubador.
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 Todd Terry. All the underground hits.
All Suburban Knight tracks. I heard you have a vinyl of every Tommy Roe 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
Tubeway Army,
Bronski Beat,
Bang On A Can,
Prince Buster,
Jimmy McGriff,
Technova,
The Dirtbombs,
The Young Rascals,
Avey Tare's Slasher Flicks,
The Dead C,
Neil Young,
Thompson Twins,
James Chance & The Contortions,
Letta Mbulu,
Liliput,
Max Romeo,
Peter Gordon & Love of Life Orchestra,
The Toasters,
8 Eyed Spy,
Marc Almond,
Lou Reed,
The Divine Comedy,
Sun City Girls,
Sam Rivers,
Intrusion,
Lungfish,
Iggy Pop,
Rowland S Howard / Lydia Lunch,
Von Mondo,
Oneida,
Cecil Taylor,
Tropical Tobacco,
Outsiders,
Boogie Down Productions,
Rod Modell,
L. Decosne,
Qualms,
Yazoo,
Adolescents,
Index,
Eric Dolphy,
Jeru the Damaja,
Soulsonic Force,
The Mojo Men,
Essential Logic,
A Flock of Seagulls,
Carl Craig,
The Men They Couldn't Hang,
The Saints,
Severed Heads,
The West Coast Pop Art Experimental Band,
Idris Muhammad,
The Mummies,
Flash Fearless,
The Index,
Nirvana,
Maurizio,
Deutsch Amerikanische Freundschaft,
The Offenders,
Half Japanese,
Jeff Mills,
F. McDonald, F. McDonald, F. McDonald, F. McDonald.
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.