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 Benin and from Columbus.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1968 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Lille.
I'm losing my edge to the art-school London 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 KRS-One to the rap 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 Spandau Ballet. All the underground hits.
All Fifty Foot Hose tracks. I heard you have a vinyl of every Johnny Osbourne record on German import.
I heard that you have a white label of every seminal techno 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 theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smoke,
The Star Department,
Bootsy's Rubber Band,
Ken Boothe,
The Slackers,
Royal Trux,
Rosa Yemen,
Aural Exciters,
Slick Rick,
Alphaville,
Johnny Osbourne,
The Raincoats,
The Mojo Men,
Terrestrial Tones,
The Monks,
Strawberry Alarm Clock,
Warren Ellis,
the Sonics,
Mo-Dettes,
Black Bananas,
Zapp,
Dr. Dre and Snoop Doggy Dog,
LL Cool J,
Drive Like Jehu,
Unrelated Segments,
The Chocolate Watch Band,
Kenny Larkin,
Lalann,
Pulsallama,
Jacob Miller,
Rhythim Is Rhythim,
Interpol,
Barrington Levy,
Whodini,
The Fortunes,
DJ Sneak,
Negative Approach,
The Zeros,
Boz Scaggs,
DeepChord presents Echospace,
Newcleus,
Avey Tare,
Echo & the Bunnymen,
Television,
The Offenders,
Frankie Knuckles,
Masters at Work,
New Order,
Electric Prunes,
Peter and Kerry,
Nation of Ulysses,
Eve St. Jones,
Tropical Tobacco,
Louis and Bebe Barron,
Henry Cow,
Q and Not U,
Hoover,
The Moleskins,
Roxy Music,
Albert Ayler,
Richard Hell and the Voidoids,
Letta Mbulu,
AZ, AZ, AZ, AZ.
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.