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 Lebanon and from Portland.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1969 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Cairo.
I'm losing my edge to the art-school Portland 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 mellotron sounds with much patience.
I was there when Robert Palmer 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 Red Lorry Yellow Lorry to the rap kids.
I played it at the Troubador.
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 Mark Hollis. All the underground hits.
All Spoonie Gee tracks. I heard you have a vinyl of every Graham Central Station 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 '90s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Lower 48 record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
Shoche,
Johnny Osbourne,
Alphaville,
Bluetip,
Accadde A,
James Chance & The Contortions,
Vladislav Delay,
Liliput,
Groovy Waters,
Joe Smooth,
the Bar-Kays,
Frankie Knuckles,
Nik Kershaw,
Public Enemy,
Roxette,
Neil Young,
Toni Rubio,
Red Lorry Yellow Lorry,
AZ,
The Dead C,
Sad Lovers and Giants,
Carl Craig,
Kurtis Blow,
Underground Resistance,
ABC,
The Smiths,
Ludus,
The Pretty Things,
Swell Maps,
Wighnomy Brothers & Robag Wruhme,
John Coltrane,
Hot Snakes,
Funky Four + One,
The Slits,
Whodini,
Agitation Free,
Radio Birdman,
Ajijia Myrayebe,
KRS-One,
The Tremeloes,
Monks,
La Düsseldorf,
John Lydon,
the Soft Cell,
Big Daddy Kane,
Little Man,
Duran Duran,
Q and Not U,
Barry Ungar,
Y Pants,
Sly & The Family Stone,
The Peanut Butter Conspiracy,
Lungfish,
The Flesh Eaters,
the Slits,
T. Rex,
Kings Of Tomorrow,
Half Japanese,
Maurizio,
Boredoms,
the Fania All-Stars,
X-101, X-101, X-101, X-101.
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.