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 Czech Republic and from Delhi.
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 1963 to 1976.
I'm losing my edge.
To all the kids in London and Lille.
I'm losing my edge to the art-school Seoul 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 1973 at the first Television practice in a loft in New York.
I was working on the 808 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 The Music Machine to the funk kids.
I played it at the Crocodile.
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 Scott Walker. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Smog record on German import.
I heard that you have a white label of every seminal grime 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 an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Swell Maps,
The Shadows of Knight,
Rapeman,
Mad Mike,
Jawbox,
Electric Prunes,
Radiopuhelimet,
Colin Newman,
Brass Construction,
Henry Cow,
Cymande,
Pagans,
Nas,
Juan Atkins,
The Modern Lovers,
Suburban Knight,
JFA,
Lyres,
Easy Going,
Bizarre Inc.,
This Heat,
Jerry's Kids,
Yaz,
Y Pants,
Jeff Lynne,
Technova,
Danielle Patucci,
Skriet,
Masters at Work,
China Crisis,
Goldenarms,
Jeff Mills,
Big Daddy Kane,
Crash Course in Science,
Tubeway Army,
Quantec,
Bauhaus,
Public Enemy,
Au Pairs,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Interpol,
T.S.O.L.,
Zero Boys,
Brand Nubian,
cv313,
Marcia Griffiths,
Rhythm & Sound,
Gian Franco Pienzio,
Ronnie Foster,
Black Moon,
Joe Smooth,
Anthony Braxton,
James White and The Blacks,
Dead Boys,
the Germs,
48th St. Collective,
The Sisters of Mercy,
Pulsallama,
Mary Jane Girls,
Gong,
Scientists, Scientists, Scientists, Scientists.
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.