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 Gambia and from Hong Kong.
But I was there.
I was there in .
I was there at the first Suicide 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 1967 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Madrid.
I'm losing my edge to the art-school Hong Kong 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 rhodes sounds with much patience.
I was there when Donald Fagen 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 Todd Terry to the rap kids.
I played it at Cafe Wha.
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 Schoolly D. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Junior Murvin record on German import.
I heard that you have a white label of every seminal grunge 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 mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Q and Not U record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
The Busters,
Motorama,
The Alarm Clocks,
Inner City,
Crooked Eye,
Cymande,
Eurythmics,
Rhythim Is Rhythim,
Man Parrish,
Rapeman,
Lalann,
Nation of Ulysses,
Super Lover Cee & Casanova Rud,
Masters at Work,
John Coltrane,
Ornette Coleman,
Pagans,
Andrew Hill,
The Monks,
Pole,
Oblivians,
Rosa Yemen,
Robert Görl,
Warsaw,
JFA,
Accadde A,
Crispy Ambulance,
ABBA,
Agitation Free,
Brass Construction,
Joyce Sims,
R.M.O.,
Cheater Slicks,
Jacob Miller,
Model 500,
The Velvet Underground,
Byron Stingily,
Moss Icon,
Urselle,
Scan 7,
Idris Muhammad,
Godley & Creme,
OOIOO,
FM Einheit,
Jesper Dahlback,
Scratch Acid,
Gang Gang Dance,
X-101,
Vainqueur,
Yellowson,
Strawberry Alarm Clock,
The Black Dice,
the Germs,
David McCallum,
Magazine,
A Flock of Seagulls,
Smog,
London Community Gospel Choir,
These Immortal Souls,
Skaos,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.