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 Cambodia and from Tokyo.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Paris and Manchester.
I'm losing my edge to the art-school Portland 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the harpsichord 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 DNA to the funk kids.
I played it at Cafe Wha.
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 Music Machine. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every The Mojo Men record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
Leonard Cohen,
Rufus Thomas,
Bootsy Collins,
Kaleidoscope,
It's A Beautiful Day,
Bluetip,
Charles Mingus,
Ponytail,
Rites of Spring,
Eyeless In Gaza,
Whodini,
Scott Walker,
Sun City Girls,
Yellowson,
Masters at Work,
JFA,
David Axelrod,
Lou Christie,
Angry Samoans,
World's Most,
Talk Talk,
Rakim,
The Motions,
Fatback Band,
Sällskapet,
The Flesh Eaters,
Terry Callier,
New Age Steppers,
Jeff Lynne,
Dual Sessions,
Eli Mardock,
Severed Heads,
Sixth Finger,
Lizzy Mercier Descloux,
Pete Rock & C.L. Smooth,
Inner City,
Peter and Kerry,
Piero Umiliani,
Rowland S Howard / Lydia Lunch,
The Red Krayola,
The Cramps,
Kas Product,
James White and The Blacks,
Erasure,
PIL,
Roy Ayers,
DJ Style,
Suburban Knight,
Art Ensemble Of Chicago,
Liaisons Dangereuses,
Matthew Halsall,
Lou Reed,
Michelle Simonal,
Lalo Schifrin,
New Order,
10cc,
E-Dancer,
China Crisis,
the Human League,
The Blues Magoos,
Blancmange,
Gerry Rafferty, Gerry Rafferty, Gerry Rafferty, Gerry Rafferty.
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.