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 Equatorial Guinea and from Hong Kong.
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 1960 to 1976.
I'm losing my edge.
To all the kids in New York and Shanghai.
I'm losing my edge to the art-school Paris 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 Shuggie Otis to the rock 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 The Star Department. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every Marine Girls 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 '90s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Beasts of Bourbon 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?
Anthony Braxton,
Ludus,
Fort Wilson Riot,
The Shadows of Knight,
The Barracudas,
Kas Product,
The Index,
James White and The Blacks,
The Happenings,
Nation of Ulysses,
Theoretical Girls,
This Heat,
One Last Wish,
The Buckinghams,
Eddi Front,
Eric Dolphy,
The Cowsills,
Neil Young & Crazy Horse,
Arcadia,
Josef K,
Marcia Griffiths,
10cc,
Sixth Finger,
Quadrant,
The Real Kids,
LL Cool J,
Bobby Hutcherson,
Camouflage,
Throbbing Gristle,
Pharaoh Sanders and the Fire Engines,
Loose Ends,
Camron Feat. Memphis Bleek And Beenie Seigel,
Moebius,
The Gladiators,
Pylon,
Alice Coltrane,
Dawn Penn,
Skaos,
Jesper Dahlback,
Fat Boys,
The Invisible,
The Motions,
Marc Romboy vs. Booka Shade,
Rekid,
Kurtis Blow,
Vaughan Mason & Crew,
Pantytec,
Sun Ra Arkestra,
The Divine Comedy,
Spoonie Gee,
Kerri Chandler,
Dual Sessions,
Dead Boys,
Qualms,
Roy Ayers Ubiquity,
Rosa Yemen,
Bob Dylan,
Masters at Work,
Beasts of Bourbon,
The Fall,
Gong, Gong, Gong, Gong.
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.