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 Nigeria and from Bremen.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1961 to 1974.
I'm losing my edge.
To all the kids in Accra and Bologna.
I'm losing my edge to the art-school Mexico City 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 Chic practice in a loft in New York.
I was working on the linndrum 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 Anthony Braxton to the electroclash 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 Howard Jones. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every Quantec 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 '90s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arthur Verocai,
K-Klass,
The Cowsills,
Sad Lovers and Giants,
Roger Hodgson,
Lyres,
Man Eating Sloth,
Boogie Down Productions,
D'Angelo,
Can,
David McCallum,
Kaleidoscope,
Marvin Gaye,
Easy Going,
Skaos,
Donald Byrd,
Buzzcocks,
Justin Hinds & The Dominoes,
DJ Style,
Jesper Dahlback,
The Count Five,
The Gories,
Soul II Soul,
R.M.O.,
Moby Grape,
Shuggie Otis,
The Detroit Cobras,
Wally Richardson,
Agent Orange,
Nation of Ulysses,
The American Breed,
Electric Light Orchestra,
Bill Near,
Hoover,
Marmalade,
Orchestral Manoeuvres in the Dark,
Deakin,
Avey Tare,
The Toasters,
Pet Shop Boys,
The Cure,
Crispian St. Peters,
Symarip,
Quando Quango,
The Invisible,
Lebanon Hanover,
The Techniques,
Skriet,
Darondo,
New Age Steppers,
Kango’s Stein Massive,
The Neon Judgement,
Spandau Ballet,
Crooked Eye,
Radio Birdman,
Isaac Hayes,
DeepChord presents Echospace,
Technova,
Fear,
Bootsy Collins,
Trumans Water,
Ice-T,
The Walker Brothers,
The Wake,
Marine Girls, Marine Girls, Marine Girls, Marine Girls.
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.