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 Spain and from Shanghai.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 Bologna and Glasgow.
I'm losing my edge to the art-school Winnipeg 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 Ronnie Foster to the jazz 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 Dead Boys. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every The Slits 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a harpsichord 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 güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unwound,
Bootsy's Rubber Band,
Grandmaster Flash,
The Durutti Column,
Sad Lovers and Giants,
John Holt,
Scott Walker,
Junior Murvin,
Warren Ellis,
Half Japanese,
Henry Cow,
Jesper Dahlback,
Marc Romboy vs. Booka Shade,
The Fugs,
the Association,
Swell Maps,
Althea and Donna,
Major Organ And The Adding Machine,
In Retrospect,
Joensuu 1685,
Lindisfarne,
Minnie Riperton,
OOIOO,
Grey Daturas,
Morten Harket,
Black Bananas,
The Fortunes,
Easy Going,
Ludus,
Andrew Ashong & Theo Parrish,
Lou Reed & John Cale,
Average White Band,
Rufus Thomas,
Röyhkä ja Rättö ja Lehtisalo,
Magma,
The Gladiators,
Nas,
The Moody Blues,
Arthur Verocai,
CMW,
Malaria!,
Isaac Hayes,
Monks,
Negative Approach,
8 Eyed Spy,
Barrington Levy,
Graham Central Station,
Josef K,
The Dave Clark Five,
DeepChord presents Echospace,
Notorious Big And Bone Thugs,
Ash Ra Tempel,
Girls At Our Best!,
The Grass Roots,
Man Parrish,
Pere Ubu,
Rahsaan Roland Kirk,
Zero Boys,
Delon & Dalcan,
Popol Vuh,
The Index,
Faust, Faust, Faust, Faust.
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.