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 Paraguay and from Paris.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Beijing and Madrid.
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 1976 at the first Chic practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Selector Dub Narcotic to the jazz kids.
I played it at the Roxy.
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 Ultramagnetic MC's. All the underground hits.
All The Moleskins 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 disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a the Soft Cell record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Sad Lovers and Giants,
Bad Manners,
Ten City,
Basic Channel,
In Retrospect,
Q and Not U,
Ajijia Myrayebe,
Deepchord,
Kevin Saunderson,
Lalann,
Deutsch Amerikanische Freundschaft,
UT,
DeepChord presents Echospace,
Terrestrial Tones,
The Grass Roots,
DJ Style,
Severed Heads,
Boogie Down Productions,
Soul Sonic Force,
Con Funk Shun,
Barbara Tucker,
Mad Mike,
The Martian,
Louis and Bebe Barron,
It's A Beautiful Day,
Pylon,
Be Bop Deluxe,
Jacob Miller,
Reagan Youth,
The Fortunes,
Soul II Soul,
Hardrive,
Tears for Fears,
Fluxion,
Funky Four + One,
De La Soul & Jungle Brothers,
Alphaville,
Dorothy Ashby,
Robert Görl,
The Invisible,
Albert Ayler,
Das Ding,
Roxette,
Fort Wilson Riot,
Hot Snakes,
Erykah Badu,
The Evens,
Q65,
Piero Umiliani,
The Moody Blues,
Brick,
The Smoke,
Quantec,
Liliput,
Electric Light Orchestra,
John Foxx,
48th St. Collective,
Jawbox,
Byron Stingily,
Freddie Wadling,
the Germs, the Germs, the Germs, the Germs.
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.