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 South Sudan and from Houston.
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 1971.
I'm losing my edge.
To all the kids in Woodstock and Columbus.
I'm losing my edge to the art-school New York 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 1984 at the first Arcadia practice in a loft in London.
I was working on the 808 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 June Days to the crunk kids.
I played it at the Roxy.
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 Idris Muhammad. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every T.S.O.L. record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultramagnetic MC's,
The Moody Blues,
Eurythmics,
Lonnie Liston Smith,
Loose Ends,
Tim Buckley,
Moby Grape,
X-Ray Spex,
Black Moon,
the Human League,
Grey Daturas,
Lyres,
Zapp,
The Star Department,
Blancmange,
Oneida,
Man Eating Sloth,
Arthur Verocai,
Girls At Our Best!,
The Shadows of Knight,
Simply Red,
Juan Atkins,
Accadde A,
Sly & The Family Stone,
Moss Icon,
Stiv Bators,
Ten City,
The Monks,
Godley & Creme,
Liaisons Dangereuses,
Japan,
Mr. Review,
Eddi Front,
Delta 5,
Piero Umiliani,
Camron Feat. Jay Z And Juelz,
Alton Ellis,
Wire,
Young Marble Giants,
Skriet,
The Dead C,
Throbbing Gristle,
Blossom Toes,
Big Daddy Kane,
Anthony Braxton,
Jacques Brel,
Motorama,
The Durutti Column,
Ituana,
Second Layer,
Chris Corsano,
The Cowsills,
Sad Lovers and Giants,
Marmalade,
Lalann,
DNA,
the Slits,
Gang Green,
The Gladiators,
Skarface,
Joe Smooth,
Sixth Finger,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.