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 France and from Manila.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1970.
I'm losing my edge.
To all the kids in Manchester and Columbus.
I'm losing my edge to the art-school Accra 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 organ sounds with much patience.
I was there when Michael McDonald 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 Minny Pops to the techno kids.
I played it at the Spitz.
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 Bobbi Humphrey. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every The Count Five 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sexual Harrassment,
Skarface,
Spandau Ballet,
Tom Boy,
Barclay James Harvest,
Cluster,
Lindisfarne,
Hardrive,
Kool Moe Dee,
Lou Christie,
Fad Gadget,
Eve St. Jones,
John Cale,
Parry Music,
Ornette Coleman,
Moss Icon,
DeepChord presents Echospace,
James White and The Blacks,
Rites of Spring,
Mantronix,
Skriet,
The Saints,
The Gun Club,
Captain Beefheart & His Magic Band,
Loose Ends,
Bang On A Can,
Sun Ra,
Michelle Simonal,
Procol Harum,
Anthony Braxton,
Black Flag,
Stereo Dub,
Heaven 17,
The Smoke,
Deakin,
Derrick Morgan,
Roy Ayers,
Eyeless In Gaza,
Leonard Cohen,
The Cramps,
The Chocolate Watch Band,
Buzzcocks,
Grandmaster Flash and the Furious Five,
Blancmange,
Byron Stingily,
Robert Görl,
Franke,
Juan Atkins,
World's Most,
Chris & Cosey,
Public Enemy,
Jeff Mills,
Gang Starr,
This Heat,
Stetsasonic,
Slick Rick,
Organ,
Mars,
Sixth Finger,
De La Soul & Jungle Brothers,
Pierre Henry,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.