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 New Zealand and from Tehran.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Woodstock.
I'm losing my edge to the art-school Delhi 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 1968 at the first Can practice in a loft in Cologne.
I was working on the marimba sounds with much patience.
I was there when Captain Beefheart 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 James White and The Blacks to the techno 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 China Crisis. All the underground hits.
All Tropical Tobacco tracks. I heard you have a vinyl of every Charles Mingus 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Clarke record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pete Rock & C.L. Smooth,
Loose Ends,
Sly & The Family Stone,
Frankie Knuckles,
Richard Hell and the Voidoids,
Desert Stars,
Interpol,
Marcia Griffiths,
Severed Heads,
The Toasters,
Ajijia Myrayebe,
Supertramp,
Sun Ra Arkestra,
Vladislav Delay,
The Knickerbockers,
Tears for Fears,
Surgeon,
Stockholm Monsters,
The Golliwogs,
The Trojans,
The Smoke,
Electric Light Orchestra,
Lyres,
The Seeds,
Howard Jones,
The United States of America,
Hot Snakes,
Gong,
Skarface,
Babytalk,
Outsiders,
Morten Harket,
The Doobie Brothers,
Main Source,
The Young Rascals,
The Zeros,
Stereo Dub,
Brass Construction,
Pharaoh Sanders and the Fire Engines,
Model 500,
It's A Beautiful Day,
Cal Tjader,
Fear,
Tom Boy,
Ultravox,
Al Stewart,
Slave,
Magma,
Ultramagnetic MC's,
The Grass Roots,
Sound Behaviour,
Fluxion,
Mr. Review,
Audionom,
Whodini,
Orchestral Manoeuvres in the Dark,
Laurel Aitken,
Lucky Dragons,
Visage,
Sixth Finger,
Scion,
Marc Almond,
Metal Thangz,
Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo.
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.