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 Niger and from Seoul.
But I was there.
I was there in 1973.
I was there at the first Television 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 1960 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Portland.
I'm losing my edge to the art-school Sao Paulo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin sounds with much patience.
I was there when Michael McDonald 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 The Busters to the punk kids.
I played it at CBGB's.
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 The Vogues. All the underground hits.
All The Slackers tracks. I heard you have a vinyl of every Wally Richardson 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Kool G Rap & DJ Polo 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?
Ultramagnetic MC's,
Ultra Naté,
X-Ray Spex,
Scrapy,
Q and Not U,
the Germs,
Alphaville,
Isaac Hayes,
Marc Romboy vs. Booka Shade,
Country Joe & The Fish,
The Mummies,
Cymande,
Wasted Youth,
The Smoke,
the Human League,
Guru Guru,
Roy Ayers,
Japan,
Grandmaster Flash,
Scion,
Duran Duran,
Charles Mingus,
Andrew Hill,
Country Teasers,
Franke,
Swell Maps,
Camberwell Now,
Los Fastidios,
the Soft Cell,
Depeche Mode,
Subhumans,
Juan Atkins,
Lizzy Mercier Descloux,
Magazine,
Sex Pistols,
U.S. Maple,
Grauzone,
Ossler,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
ABBA,
The Gun Club,
Wings,
The Mighty Diamonds,
Icehouse,
Robert Hood,
The Blues Magoos,
Man Parrish,
The Dave Clark Five,
Howard Jones,
Black Sheep,
Sixth Finger,
Sam Rivers,
Tom Boy,
Louis and Bebe Barron,
10cc,
The Doobie Brothers,
Lakeside,
Sugar Minott,
Dave Gahan,
Arthur Verocai,
The Stooges,
Bobby Womack,
Crash Course in Science,
The Smiths,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.