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 Croatia and from Johannesburg.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1974.
I'm losing my edge.
To all the kids in Copenhagen and Columbus.
I'm losing my edge to the art-school Manchester 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 arpeggiator 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 Depeche Mode to the dance kids.
I played it at the Hacienda.
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 Electric Prunes. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every KRS-One record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Pete Rock & C.L. Smooth record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
E-Dancer,
London Community Gospel Choir,
The Raincoats,
David Axelrod,
Ultramagnetic MC's,
Das Ding,
Los Fastidios,
Josef K,
FM Einheit,
Gabor Szabo,
Dark Day,
The Fuzztones,
Tropical Tobacco,
Iggy Pop,
Excepter,
the Bar-Kays,
Boz Scaggs,
Scott Walker,
A Flock of Seagulls,
the Fania All-Stars,
Desert Stars,
James Chance & The Contortions,
The Golliwogs,
the Slits,
Y Pants,
Bobbi Humphrey,
Charles Mingus,
Alphaville,
Trumans Water,
Vaughan Mason & Crew,
Wasted Youth,
Aswad,
Bobby Sherman,
Procol Harum,
Moss Icon,
Wally Richardson,
Grauzone,
The Motions,
Buzzcocks,
Wolf Eyes,
The Flesh Eaters,
Camouflage,
Al Stewart,
Gerry Rafferty,
Althea and Donna,
Icehouse,
Main Source,
B.T. Express,
Echospace,
Eden Ahbez,
Fluxion,
Freddie Wadling,
Little Man,
The Slits,
Deutsch Amerikanische Freundschaft,
Dave Gahan,
Skaos,
Hashim,
DNA,
Flamin' Groovies,
Fela Kuti,
John Holt, John Holt, John Holt, John Holt.
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.