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 Angola and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Taipei and Accra.
I'm losing my edge to the art-school Bologna 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 Lou Reed 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 Gian Franco Pienzio to the grime kids.
I played it at the Hacienda.
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 The Star Department. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every The Gladiators 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 synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharoah Sanders,
Cybotron,
Electric Light Orchestra,
Animal Collective,
Matthew Bourne,
The Sonics,
The Electric Prunes,
Marshall Jefferson,
Shoche,
Morten Harket,
Half Japanese,
Jacques Brel,
Inner City,
KRS-One,
DJ Sneak,
AZ,
Ultramagnetic MC's,
Deadbeat,
Gabor Szabo,
Pierre Henry,
John Cale,
Livin' Joy,
the Association,
The Pretty Things,
B.T. Express,
Ice-T,
Boredoms,
Parry Music,
Echo & the Bunnymen,
Rufus Thomas,
Tomorrow,
Magma,
Maleditus Sound,
Fort Wilson Riot,
Scan 7,
Fifty Foot Hose,
Alphaville,
Warren Ellis,
David Axelrod,
The Doors,
Avey Tare & Kría Brekkan,
Young Marble Giants,
Nils Olav,
The Human League,
New Order,
The Happenings,
Man Parrish,
Lou Reed & Metallica,
The American Breed,
Idris Muhammad,
Organ,
Liaisons Dangereuses,
Slick Rick,
Kerrie Biddell,
Guru Guru,
Alice Coltrane,
Fatback Band,
Throbbing Gristle,
Jawbox,
The Stooges,
Sound Behaviour,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.