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 Jamaica and from Portland.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Accra and Madrid.
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 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 Pierre Henry to the electroclash 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 Brass Construction. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Christie,
Ultramagnetic MC's,
Bobby Sherman,
Roxy Music,
Throbbing Gristle,
Au Pairs,
Tom Boy,
The Litter,
Terrestrial Tones,
The Wake,
Roxette,
Judy Mowatt,
CMW,
Liaisons Dangereuses,
The Count Five,
Byron Stingily,
The Dirtbombs,
Rapeman,
Neil Young & Crazy Horse,
The Offenders,
The Doors,
The Trojans,
Larry & the Blue Notes,
Public Enemy,
The Monochrome Set,
Andrew Ashong & Theo Parrish,
Black Pus,
ABC,
Gil Scott Heron,
Schoolly D,
Inner City,
Visage,
Reagan Youth,
The Remains,
Jeff Lynne,
Connie Case,
Peter & Gordon,
June Days,
Idris Muhammad,
The Moody Blues,
Matthew Halsall,
The Star Department,
Nico,
Hashim,
EPMD,
Nirvana,
The Skatalites,
Echo & the Bunnymen,
The Beau Brummels,
Dawn Penn,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sixth Finger,
The Fortunes,
The Slackers,
Sly & The Family Stone,
Dennis Brown,
Junior Murvin,
June of 44,
Sight & Sound,
X-101,
8 Eyed Spy,
Frankie Knuckles,
The Searchers,
Skriet, Skriet, Skriet, Skriet.
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.