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 Ethiopia and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1977.
I'm losing my edge.
To all the kids in Beijing and Toronto.
I'm losing my edge to the art-school Lille 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 Tom Verlaine 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 Model 500 to the techno kids.
I played it at the Crocodile.
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 New Age Steppers. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Delta 5 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 '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Real Kids,
Con Funk Shun,
Infiniti,
Drive Like Jehu,
Little Man,
Mantronix,
Adolescents,
The Chocolate Watch Band,
Big Daddy Kane,
Make Up,
Grauzone,
Massinfluence,
Suicide,
Leonard Cohen,
Public Image Ltd.,
The Sound,
Joe Smooth,
The Cosmic Jokers,
Von Mondo,
The Moleskins,
Wings,
Wolf Eyes,
Major Organ And The Adding Machine,
Jerry Gold Smith,
David Axelrod,
Pantytec,
Peter and Kerry,
Sonny Sharrock,
Jacob Miller,
Oblivians,
Sly & The Family Stone,
Aswad,
Marmalade,
The Zeros,
Bill Wells,
Derrick Morgan,
LL Cool J,
The Smiths,
Joyce Sims,
Thee Headcoats,
Pharaoh Sanders and the Fire Engines,
Davy DMX,
The Black Dice,
Steve Hackett,
Eden Ahbez,
kango's stein massive,
Richard Hell and the Voidoids,
Nas,
Half Japanese,
Section 25,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Manfred Mann's Earth Band,
John Coltrane,
Art Ensemble Of Chicago,
Desert Stars,
Rod Modell,
Marc Almond,
James Chance & The Contortions,
The Smoke,
Lakeside,
48th St. Collective,
The Selecter,
The Slackers, The Slackers, The Slackers, The Slackers.
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.