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 Belarus and from Paris.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Cairo and Mexico City.
I'm losing my edge to the art-school Milan 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 Chic practice in a loft in New York.
I was working on the oboe 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 Public Enemy to the electroclash kids.
I played it at Trash.
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 Vogues. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every Sight & Sound record on German import.
I heard that you have a white label of every seminal techno 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 an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
8 Eyed Spy,
Gil Scott-Heron & Brian Jackson,
the Swans,
The Dirtbombs,
Kings Of Tomorrow,
Y Pants,
World's Most,
Jesper Dahlbäck,
The West Coast Pop Art Experimental Band,
Brand Nubian,
Jimmy McGriff,
Terror Squad Feat. Camron,
Ponytail,
KRS-One,
The Motions,
Excepter,
Marmalade,
Ten City,
Justin Hinds & The Dominoes,
The Slackers,
Susan Cadogan,
Heaven 17,
The Blackbyrds,
Cluster,
The Cosmic Jokers,
the Normal,
Ultravox,
Lyres,
Public Enemy,
Gong,
The Alarm Clocks,
Grey Daturas,
Juan Atkins,
Yazoo,
Second Layer,
Amon Düül II,
The Victims,
Pantaleimon,
Pierre Henry,
Gabor Szabo,
Gian Franco Pienzio,
Nation of Ulysses,
Main Source,
Kerri Chandler,
The Sisters of Mercy,
Thompson Twins,
Circle Jerks,
Eurythmics,
Robert Wyatt,
Derrick Morgan,
Derrick May,
Girls At Our Best!,
Jerry's Kids,
Aaron Thompson,
Ornette Coleman,
The Fire Engines,
Soft Cell,
Manfred Mann's Earth Band,
Soul Sonic Force,
Warsaw,
Radio Birdman, Radio Birdman, Radio Birdman, Radio Birdman.
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.