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 Denmark and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Houston.
I'm losing my edge to the art-school Philadelphia 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 theremin 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 E-Dancer to the grime 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 Chocolate Watch Band. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every Jacques Brel record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Newcleus record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Five Americans,
The Cosmic Jokers,
Mary Jane Girls,
ABC,
Pylon,
Joe Smooth,
The Doors,
Black Pus,
Interpol,
Minor Threat,
In Retrospect,
Wally Richardson,
Ultravox,
Eve St. Jones,
OOIOO,
Bootsy Collins,
Black Sheep,
The Associates,
Andrew Hill,
The Fall,
Kenny Larkin,
E-Dancer,
Scott Walker + Sunn O))),
L. Decosne,
Erasure,
Rekid,
Surgeon,
Cabaret Voltaire,
Gil Scott-Heron & Brian Jackson,
The Detroit Cobras,
Flipper,
Brick,
Jawbox,
Rowland S Howard / Lydia Lunch,
Loose Ends,
Jerry's Kids,
John Holt,
Lonnie Liston Smith,
The Human League,
Unwound,
The Techniques,
Royal Trux,
Terry Callier,
Lou Christie,
Spandau Ballet,
Gichy Dan,
Yellowson,
Angels of Light & Akron/Family,
Jesper Dahlbäck,
Barbara Tucker,
FM Einheit,
The Golliwogs,
Arthur Verocai,
ABBA,
Pere Ubu,
The Slackers,
The Red Krayola,
Orchestral Manoeuvres in the Dark,
Thinking Fellers Union Local 282,
Silicon Teens,
Stiv Bators,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.