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 Solomon Islands and from London.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1975.
I'm losing my edge.
To all the kids in Shanghai and Winnipeg.
I'm losing my edge to the art-school Toronto 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 marimba 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 Minny Pops to the grunge 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 Stetsasonic. All the underground hits.
All ABBA tracks. I heard you have a vinyl of every Matthew Bourne record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
cv313,
Be Bop Deluxe,
Man Parrish,
Kool G Rap & DJ Polo,
X-101,
The Sisters of Mercy,
Kenny Larkin,
the Human League,
Buzzcocks,
Letta Mbulu,
DJ Style,
Slave,
Marvin Gaye,
Pantytec,
The United States of America,
Joyce Sims,
Eyeless In Gaza,
Wings,
CMW,
Ludus,
Lalann,
Heavy D & The Boyz,
Fat Boys,
Darondo,
Franke,
Eric Copeland,
Ken Boothe,
Godley & Creme,
Shoche,
Quadrant,
Don Cherry,
Fort Wilson Riot,
Dual Sessions,
Gong,
Angry Samoans,
E-Dancer,
Hardrive,
Boogie Down Productions,
Lou Reed,
Royal Trux,
Lalo Schifrin,
Rhythm & Sound,
Crime,
the Germs,
Colin Newman,
The Invisible,
Dawn Penn,
Fatback Band,
Das Ding,
Aaron Thompson,
Ultimate Spinach,
Kool Moe Dee,
The Human League,
Sonic Youth,
Cabaret Voltaire,
Johnny Clarke,
Marshall Jefferson,
David Axelrod,
Laurel Aitken,
Groovy Waters,
Soft Cell,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.