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 Egypt and from London.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Seoul and Columbus.
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 harpsichord 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 Danielle Patucci to the funk 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 Curtis Mayfield. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every The Move 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 '70s cut and another box set from the '90s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Metal Thangz,
Siouxsie and the Banshees,
Erasure,
Fort Wilson Riot,
Rapeman,
Pierre Henry,
The Velvet Underground,
Johnny Clarke,
Mr. Review,
Avey Tare,
Prince Buster,
Electric Prunes,
The Blackbyrds,
The Gap Band,
The Martian,
Blossom Toes,
Robert Görl,
Rotary Connection,
Black Bananas,
June of 44,
The Mummies,
The Zeros,
Sight & Sound,
Slave,
The Monochrome Set,
Main Source,
Siglo XX,
Lucky Dragons,
Symarip,
The Mojo Men,
Aswad,
Grauzone,
ABBA,
The Trojans,
Country Joe & The Fish,
UT,
Inner City,
Schoolly D,
Rakim,
Ronnie Foster,
AZ,
the Bar-Kays,
Tears for Fears,
Ten City,
Moss Icon,
Flash Fearless,
John Lydon,
Judy Mowatt,
David Axelrod,
Andrew Hill,
Lafayette Afro Rock Band,
Maleditus Sound,
La Düsseldorf,
Blancmange,
Stereo Dub,
A Flock of Seagulls,
Ossler,
Davy DMX,
The Human League,
Eden Ahbez,
Colin Newman,
Dorothy Ashby,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.