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 Finland and from Toronto.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1978.
I'm losing my edge.
To all the kids in Glasgow and Manchester.
I'm losing my edge to the art-school Beijing 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 Soft Boys practice in a loft in Cambridge.
I was working on the synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Althea and Donna to the funk kids.
I played it at the 40 Watt.
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 Cecil Taylor. All the underground hits.
All Visage tracks. I heard you have a vinyl of every The Sisters of Mercy record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
Smog,
Chris Corsano,
The Wake,
Kaleidoscope,
Black Pus,
Charles Mingus,
The Golliwogs,
Jerry's Kids,
Maleditus Sound,
Bush Tetras,
The Divine Comedy,
Notorious BIG live in Amsterdam,
The Gories,
Organ,
June of 44,
Arab on Radar,
Bobby Byrd,
Ice-T,
Sugar Minott,
Animal Collective,
Echo & the Bunnymen,
Ultimate Spinach,
K-Klass,
Eric B and Rakim,
Das Ding,
Joy Division,
The Remains,
Cymande,
Q and Not U,
Eric Dolphy,
Maurizio,
Deadbeat,
Lou Reed & John Cale,
The Detroit Cobras,
Major Organ And The Adding Machine,
The Electric Prunes,
The Mojo Men,
Basic Channel,
Von Mondo,
Skriet,
Unrelated Segments,
Arthur Verocai,
Scan 7,
Bobby Hutcherson,
Cabaret Voltaire,
Supertramp,
Traffic Nightmare,
Scion,
Graham Central Station,
Bobby Sherman,
the Human League,
the Normal,
Lafayette Afro Rock Band,
Derrick May,
Negative Approach,
Siglo XX,
The Residents,
Fat Boys,
Vladislav Delay,
Eli Mardock,
Wally Richardson,
The Selecter, The Selecter, The Selecter, The Selecter.
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.