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 Costa Rica and from Johannesburg.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Bremen and Portland.
I'm losing my edge to the art-school Portland 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 synthesizer 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 EPMD to the rock kids.
I played it at the Spitz.
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 Electric Prunes. All the underground hits.
All Talk Talk tracks. I heard you have a vinyl of every Richard Hell and the Voidoids 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 '90s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Order,
John Holt,
Malaria!,
Warsaw,
Howard Jones,
Pantaleimon,
Heaven 17,
Sandy B,
Crash Course in Science,
Lebanon Hanover,
Richard Hell and the Voidoids,
Inner City,
Procol Harum,
Bootsy's Rubber Band,
The Slackers,
The Index,
Delta 5,
Graham Central Station,
T. Rex,
Oblivians,
The Chocolate Watch Band,
Rufus Thomas,
New York Dolls,
Susan Cadogan,
Peter and Kerry,
Joyce Sims,
Ronnie Foster,
The Kinks,
Patti Smith,
the Slits,
Rosa Yemen,
Michelle Simonal,
Nas,
Roxy Music,
Joey Negro,
Angry Samoans,
Blossom Toes,
Alice Coltrane,
Pulsallama,
Aswad,
Loose Ends,
Freddie Wadling,
ABC,
Jerry's Kids,
The Golliwogs,
Lucky Dragons,
Pussy Galore,
The Knickerbockers,
the Normal,
The Last Poets,
Drive Like Jehu,
Don Cherry,
Amon Düül II,
Harry Pussy,
Spoonie Gee,
Lalann,
The Dirtbombs,
The Trojans,
Roger Hodgson,
Hashim,
X-102,
The Mummies,
John Cale, John Cale, John Cale, John Cale.
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.