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 Colombia and from Beijing.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1974.
I'm losing my edge.
To all the kids in Bologna and Lagos.
I'm losing my edge to the art-school Johannesburg 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 synthesizer 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 Lebanon Hanover to the disco kids.
I played it at the Crocodile.
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 Rekid. All the underground hits.
All Glenn Branca tracks. I heard you have a vinyl of every The Martian record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s 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 Hoover record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scan 7,
The Mojo Men,
kango's stein massive,
Danielle Patucci,
Zapp,
Sonny Sharrock,
Hot Snakes,
The Gun Club,
Sun City Girls,
Dorothy Ashby,
Avey Tare & Kría Brekkan,
Minny Pops,
B.T. Express,
Dark Day,
Amon Düül II,
Thee Headcoats,
Index,
Scratch Acid,
Boogie Down Productions,
The Red Krayola,
Man Eating Sloth,
Soft Machine,
Camouflage,
Gabor Szabo,
Schoolly D,
Mary Jane Girls,
Electric Prunes,
James Chance & The Contortions,
The Dead C,
Boz Scaggs,
The Durutti Column,
Aloha Tigers,
Quando Quango,
Lungfish,
Fat Boys,
Youth Brigade,
Little Man,
Moby Grape,
The Leaves,
Oblivians,
Yusef Lateef,
DJ Style,
Wasted Youth,
Matthew Halsall,
Fela Kuti,
Heavy D & The Boyz,
Bobbi Humphrey,
Icehouse,
The Techniques,
Peter and Kerry,
The Selecter,
Kaleidoscope,
Sandy B,
L. Decosne,
The Smoke,
Dual Sessions,
The Buckinghams,
The Beau Brummels,
Major Organ And The Adding Machine,
Gian Franco Pienzio,
FM Einheit,
Crime, Crime, Crime, Crime.
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.