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 Dominica and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Cairo.
I'm losing my edge to the art-school Toronto 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 snare sounds with much patience.
I was there when Robert Palmer 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 Excepter to the grunge kids.
I played it at the Hacienda.
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 Jerry's Kids tracks. I heard you have a vinyl of every Gang Starr record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Don Cherry,
Sun City Girls,
Chrome,
PIL,
Soulsonic Force,
The Real Kids,
Niagra,
Andrew Ashong & Theo Parrish,
Ohio Players,
Gil Scott-Heron and Jamie xx,
Bobby Hutcherson,
H. Thieme,
DeepChord presents Echospace,
Royal Trux,
Avey Tare & Kría Brekkan,
Roxette,
Curtis Mayfield,
Negative Approach,
Chris Corsano,
Blossom Toes,
Sight & Sound,
Japan,
Pulsallama,
The Golliwogs,
Bronski Beat,
Ken Boothe,
Hardrive,
Byron Stingily,
The Techniques,
Absolute Body Control,
Jandek,
The Velvet Underground,
Pharoah Sanders,
Laurel Aitken,
Roger Hodgson,
Flamin' Groovies,
Boredoms,
Major Organ And The Adding Machine,
Sugar Minott,
The Alarm Clocks,
Masters at Work,
Frankie Knuckles,
Pantytec,
EPMD,
Larry & the Blue Notes,
Bizarre Inc.,
Marcia Griffiths,
Drive Like Jehu,
The Standells,
Rekid,
Isaac Hayes,
Warsaw,
Dennis Brown,
Tomorrow,
Grauzone,
The Gladiators,
Television,
Marine Girls,
Rites of Spring,
Gary Puckett & The Union Gap,
The Last Poets,
Lungfish,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.