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 Jakarta.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Columbus and Edmonton.
I'm losing my edge to the art-school Edmonton 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 chamberlin sounds with much patience.
I was there when David Bowie 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 Carl Craig to the punk kids.
I played it at the Astoria.
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 Yusef Lateef. All the underground hits.
All Pete Rock & C.L. Smooth tracks. I heard you have a vinyl of every The Misunderstood 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your 808 and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Marc Romboy vs. Booka Shade,
Robert Hood,
Amon Düül,
Niagra,
Roy Ayers Ubiquity,
Soft Cell,
Man Parrish,
June Days,
DeepChord presents Echospace,
Oppenheimer Analysis,
The Cosmic Jokers,
Fort Wilson Riot,
The Gap Band,
Eden Ahbez,
Lou Reed & Metallica,
Sound Behaviour,
Flamin' Groovies,
Alison Limerick,
John Lydon,
Camouflage,
Kool G Rap & DJ Polo,
U.S. Maple,
Television Personalities,
Procol Harum,
Andrew Hill,
Ajijia Myrayebe,
PIL,
Gabor Szabo,
Aaron Thompson,
The Smiths,
Crispy Ambulance,
Laurel Aitken,
Hoover,
The Vogues,
Tears for Fears,
Kaleidoscope,
Radio Birdman,
Sixth Finger,
Silicon Teens,
Mo-Dettes,
It's A Beautiful Day,
Maurizio,
Aloha Tigers,
The United States of America,
Lyres,
Q65,
Duran Duran,
Anthony Braxton,
Dr. Dre and Snoop Doggy Dog,
Lightning Bolt,
Infiniti,
Big Daddy Kane,
The Litter,
Carl Craig,
The Moleskins,
Audionom,
Morten Harket,
Connie Case,
Gong,
Derrick May,
Crispian St. Peters,
Brand Nubian,
Joy Division, Joy Division, Joy Division, Joy Division.
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.