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 Madagascar and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Jakarta.
I'm losing my edge to the art-school Houston 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the 808 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 Big Daddy Kane to the electroclash 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 Ice-T. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every The Mighty Diamonds record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Surgeon,
Index,
The Invisible,
Peter & Gordon,
Barrington Levy,
In Retrospect,
PIL,
The Durutti Column,
Make Up,
Camberwell Now,
Cybotron,
Strawberry Alarm Clock,
Quando Quango,
The Doobie Brothers,
Alice Coltrane,
8 Eyed Spy,
Heaven 17,
Piero Umiliani,
Eyeless In Gaza,
Boredoms,
Model 500,
Minor Threat,
Gil Scott Heron,
Visage,
Animal Collective,
Robert Görl,
Von Mondo,
Lalo Schifrin,
Subhumans,
Laurel Aitken,
Wire,
Ajijia Myrayebe,
Khruangbin,
The Star Department,
Los Fastidios,
Roy Ayers Ubiquity,
Swell Maps,
Albert Ayler,
Yusef Lateef,
Lakeside,
Ash Ra Tempel,
The Smiths,
Skriet,
The Move,
Babytalk,
John Lydon,
Malaria!,
Frankie Knuckles,
F. McDonald,
Junior Murvin,
Con Funk Shun,
The Smoke,
Gong,
Sugar Minott,
Max Romeo,
Harpers Bizarre,
The Dead C,
Hashim,
Unrelated Segments,
Aswad,
Aaron Thompson,
T.S.O.L., T.S.O.L., T.S.O.L., T.S.O.L..
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.