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 Cyprus and from Winnipeg.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Columbus and Delhi.
I'm losing my edge to the art-school Woodstock 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 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 Grandmaster Flash and the Furious Five to the disco 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 The Victims. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every Neil Young 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 '80s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
A Certain Ratio,
Reuben Wilson,
Thinking Fellers Union Local 282,
Danielle Patucci,
The Busters,
The Index,
Lakeside,
Trumans Water,
Wire,
The Durutti Column,
Crash Course in Science,
Simply Red,
Tomorrow,
David Axelrod,
Fugazi,
The Pretty Things,
Junior Murvin,
Röyhkä ja Rättö ja Lehtisalo,
Curtis Mayfield,
Alice Coltrane,
JFA,
Essential Logic,
Jeff Mills,
Grandmaster Flash,
Minor Threat,
Bill Wells,
Grandmaster Flash and the Furious Five,
The Men They Couldn't Hang,
Drexciya,
Eddi Front,
Kings Of Tomorrow,
X-102,
Gregory Isaacs,
Don Cherry,
Oblivians,
Barclay James Harvest,
Electric Light Orchestra,
LL Cool J,
Avey Tare,
Swell Maps,
Cecil Taylor,
Lou Reed & John Cale,
Godley & Creme,
Scott Walker,
Gil Scott-Heron & Brian Jackson,
Sun City Girls,
Joensuu 1685,
T. Rex,
The Flesh Eaters,
The Victims,
Country Teasers,
Ash Ra Tempel,
Hot Snakes,
Harry Pussy,
The Slits,
Kango’s Stein Massive,
Vainqueur,
Dead Boys,
Brass Construction,
Althea and Donna,
Matthew Bourne,
Circle Jerks, Circle Jerks, Circle Jerks, Circle Jerks.
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.