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 Albania and from New York.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1977.
I'm losing my edge.
To all the kids in Stockholm and Beijing.
I'm losing my edge to the art-school Shanghai 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 808 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 Bobby Sherman to the grunge 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 Niagra. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every Ultra Naté 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 '50s cut and another box set from the '90s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Dave Gahan record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
Newcleus,
Deutsch Amerikanische Freundschaft,
Ronnie Foster,
The Star Department,
Eve St. Jones,
The Martian,
Deadbeat,
Sugar Minott,
Trumans Water,
Rosa Yemen,
China Crisis,
The Blues Magoos,
The Slits,
Basic Channel,
Gerry Rafferty,
Judy Mowatt,
Curtis Mayfield,
Soft Machine,
Barclay James Harvest,
Crash Course in Science,
Arab on Radar,
Half Japanese,
The Searchers,
Symarip,
The United States of America,
Wally Richardson,
It's A Beautiful Day,
The Buckinghams,
Black Bananas,
The Skatalites,
The J.B.'s,
Eurythmics,
T.S.O.L.,
Electric Prunes,
Loose Ends,
Scratch Acid,
Intrusion,
Hasil Adkins,
Throbbing Gristle,
Yazoo,
The Blackbyrds,
Andrew Ashong & Theo Parrish,
The Jesus and Mary Chain,
Kool G Rap & DJ Polo,
Todd Rundgren,
Oblivians,
The Techniques,
Agitation Free,
Althea and Donna,
Ohio Players,
The Cramps,
Livin' Joy,
Sällskapet,
Lou Reed,
James Chance & The Contortions,
The Standells,
The Seeds,
Terrestrial Tones,
Justin Hinds & The Dominoes,
Strawberry Alarm Clock,
Cabaret Voltaire,
EPMD, EPMD, EPMD, EPMD.
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.