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 Vanuatu and from Johannesburg.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 Beijing and Calgary.
I'm losing my edge to the art-school Copenhagen 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 PIL to the crunk kids.
I played it at the Crocodile.
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 Howard Jones. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every Section 25 record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Piero Umiliani record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fatback Band,
The Wake,
Eric B and Rakim,
Blossom Toes,
The Fugs,
Roger Hodgson,
Sister Nancy,
Kas Product,
Lou Reed,
Reagan Youth,
Ultimate Spinach,
Steve Hackett,
Terrestrial Tones,
Lakeside,
X-102,
Deutsch Amerikanische Freundschaft,
The Gap Band,
The West Coast Pop Art Experimental Band,
Ossler,
Half Japanese,
The Mummies,
Nik Kershaw,
Goldenarms,
kango's stein massive,
Marc Romboy vs. Booka Shade,
Liaisons Dangereuses,
Johnny Clarke,
The Electric Prunes,
Röyhkä ja Rättö ja Lehtisalo,
The J.B.'s,
Soft Cell,
Little Man,
Morten Harket,
H. Thieme,
Buzzcocks,
the Sonics,
Roxy Music,
Fear,
The Jesus and Mary Chain,
Pet Shop Boys,
Godley & Creme,
Leonard Cohen,
Lower 48,
Porter Ricks,
Outsiders,
Gong,
Masters at Work,
Tears for Fears,
The Residents,
Matthew Halsall,
The Gladiators,
Sugar Minott,
Eve St. Jones,
Basic Channel,
Ralphi Rosario,
Jacques Brel,
Reuben Wilson,
Jacob Miller,
Funkadelic,
Eddi Front,
Moebius,
Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx.
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.