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 Netherlands and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Beijing.
I'm losing my edge to the art-school Lyon 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 organ sounds with much patience.
I was there when Holger Czukay 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 Idris Muhammad to the dance kids.
I played it at the Troubador.
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 Bobby Hutcherson. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark record on German import.
I heard that you have a white label of every seminal disco 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 linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Guru Guru record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Residents,
Public Enemy,
MC5,
Matthew Bourne,
Bad Manners,
Max Romeo,
Sugar Minott,
Big Daddy Kane,
Cheater Slicks,
Joe Smooth,
The Associates,
Swell Maps,
The West Coast Pop Art Experimental Band,
The Velvet Underground,
Black Sheep,
Gang Gang Dance,
Barrington Levy,
David Axelrod,
Soul II Soul,
Simply Red,
Bobby Hutcherson,
Ultra Naté,
Louis and Bebe Barron,
Alice Coltrane,
Gastr Del Sol,
James White and The Blacks,
the Bar-Kays,
Depeche Mode,
Albert Ayler,
Dave Gahan,
Heaven 17,
Little Man,
Scion,
Fluxion,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pulsallama,
The Remains,
China Crisis,
Sex Pistols,
Radio Birdman,
Idris Muhammad,
John Lydon,
Gichy Dan,
Lindisfarne,
Au Pairs,
Oblivians,
A Flock of Seagulls,
Sparks,
Kayak,
Bizarre Inc.,
The Blues Magoos,
Crash Course in Science,
Wasted Youth,
Derrick Morgan,
Goldenarms,
Marmalade,
The Tremeloes,
Röyhkä ja Rättö ja Lehtisalo,
Yusef Lateef,
The Offenders,
The Moleskins,
Joy Division,
Deutsch Amerikanische Freundschaft,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & 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.