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 1971.
I was there at the first Selda show in Istanbul.
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 1979.
I'm losing my edge.
To all the kids in Winnipeg and Lille.
I'm losing my edge to the art-school Spokane 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Minnie Riperton to the grunge 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 B.T. Express. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every Sandy B record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Joyce Sims record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skarface,
Chrome,
Fat Boys,
Sugar Minott,
Peter Gordon & Love of Life Orchestra,
Visage,
The Real Kids,
Camron Feat. Memphis Bleek And Beenie Seigel,
Gang of Four,
The Remains,
Agent Orange,
The Slits,
Duran Duran,
The Wake,
Frankie Knuckles,
Robert Hood,
Sad Lovers and Giants,
China Crisis,
Slick Rick,
Aloha Tigers,
Ultramagnetic MC's,
The Human League,
Public Enemy,
Laurel Aitken,
Letta Mbulu,
Pussy Galore,
Thinking Fellers Union Local 282,
The West Coast Pop Art Experimental Band,
Erasure,
H. Thieme,
Rotary Connection,
Warsaw,
Bluetip,
Popol Vuh,
Pole,
Man Eating Sloth,
DeepChord presents Echospace,
Tears for Fears,
The Divine Comedy,
Hot Snakes,
Das Ding,
Red Lorry Yellow Lorry,
Derrick May,
Pharaoh Sanders and the Fire Engines,
Motorama,
Susan Cadogan,
The Move,
Judy Mowatt,
One Last Wish,
Grauzone,
The Leaves,
Pete Rock & C.L. Smooth,
Wally Richardson,
John Coltrane,
Ash Ra Tempel,
OOIOO,
Mo-Dettes,
Porter Ricks,
Art Ensemble Of Chicago,
Grey Daturas,
Dennis Brown, Dennis Brown, Dennis Brown, Dennis Brown.
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.