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 Russia and from Spokane.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1973.
I'm losing my edge.
To all the kids in Bologna and Salvador.
I'm losing my edge to the art-school Copenhagen 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Deadbeat to the grime kids.
I played it at the Astoria.
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 Graham Central Station. All the underground hits.
All Donny Hathaway tracks. I heard you have a vinyl of every Theoretical Girls record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
Laurel Aitken,
Barrington Levy,
Blossom Toes,
Das Ding,
Grandmaster Flash,
Pulsallama,
Jimmy McGriff,
Saccharine Trust,
Stockholm Monsters,
Michelle Simonal,
Deadbeat,
Rowland S Howard / Lydia Lunch,
Bobby Womack,
The Cure,
The Last Poets,
the Swans,
Gichy Dan,
The Sisters of Mercy,
The New Christs,
KRS-One,
Judy Mowatt,
June of 44,
Unwound,
Louis and Bebe Barron,
Be Bop Deluxe,
Altered Images,
The Knickerbockers,
Aaron Thompson,
Lungfish,
Connie Case,
E-Dancer,
Marshall Jefferson,
Sandy B,
Scientists,
Dawn Penn,
Mars,
David Axelrod,
Oppenheimer Analysis,
K-Klass,
Shuggie Otis,
Black Pus,
The Star Department,
Sound Behaviour,
T. Rex,
La Düsseldorf,
Marine Girls,
The Slackers,
Nation of Ulysses,
Fad Gadget,
Unrelated Segments,
Agitation Free,
Deutsch Amerikanische Freundschaft,
Second Layer,
Motorama,
Joe Smooth,
Al Stewart,
Lonnie Liston Smith,
Livin' Joy,
Justin Hinds & The Dominoes,
R.M.O.,
Sixth Finger,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.