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 Peru and from Cairo.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Houston.
I'm losing my edge to the art-school Tokyo 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 sitar 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 Reuben Wilson to the jazz 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 Traffic Nightmare. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every Marc Romboy vs. Booka Shade record on German import.
I heard that you have a white label of every seminal funk 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 guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers 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?
Rod Modell,
Bronski Beat,
Black Sheep,
Intrusion,
Brothers Johnson,
Dr. Dre and Snoop Doggy Dog,
The Cramps,
The Gladiators,
Lucky Dragons,
Con Funk Shun,
Mandrill,
Stiv Bators,
Oneida,
Tomorrow,
Pulsallama,
LL Cool J,
Dead Boys,
Outsiders,
The Pop Group,
JFA,
X-102,
Vladislav Delay,
Matthew Halsall,
Glambeats Corp.,
Liliput,
Newcleus,
Vainqueur,
Monks,
Terror Squad Feat. Camron,
Flamin' Groovies,
Essential Logic,
the Human League,
MC5,
The Five Americans,
Massinfluence,
Ponytail,
Heaven 17,
the Sonics,
Don Cherry,
The Moody Blues,
Heavy D & The Boyz,
Half Japanese,
Danielle Patucci,
The Kinks,
Accadde A,
Alphaville,
Au Pairs,
E-Dancer,
Red Lorry Yellow Lorry,
Flash Fearless,
Robert Hood,
Connie Case,
Visage,
The Associates,
Charles Mingus,
Art Ensemble Of Chicago,
Ultimate Spinach,
Pantytec,
Traffic Nightmare,
The Cosmic Jokers,
Rakim,
Subhumans, Subhumans, Subhumans, Subhumans.
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.