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 Ivory Coast and from Madrid.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Winnipeg and Calgary.
I'm losing my edge to the art-school Salvador 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 808 sounds with much patience.
I was there when Lou Reed 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 Scratch Acid to the disco 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 Parry Music. All the underground hits.
All Ludus tracks. I heard you have a vinyl of every Procol Harum 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 '60s cut and another box set from the '90s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
Jeff Lynne,
Alison Limerick,
Young Marble Giants,
Royal Trux,
Piero Umiliani,
Arab on Radar,
Nik Kershaw,
L. Decosne,
Ultimate Spinach,
Gang Gang Dance,
The Beau Brummels,
Gang of Four,
DeepChord presents Echospace,
Crime,
Nick Fraelich,
The Standells,
The Pop Group,
A Flock of Seagulls,
Moby Grape,
Ash Ra Tempel,
Roy Ayers Ubiquity,
Kool Moe Dee,
Supertramp,
The Blues Magoos,
Kerrie Biddell,
Agitation Free,
Drexciya,
Sixth Finger,
The Cure,
Rhythm & Sound,
Depeche Mode,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Maleditus Sound,
Black Flag,
Reagan Youth,
10cc,
Brick,
Bootsy Collins,
Blossom Toes,
The Monks,
De La Soul & Jungle Brothers,
Angels of Light & Akron/Family,
Quantec,
John Holt,
Rosa Yemen,
Rekid,
Spandau Ballet,
Major Organ And The Adding Machine,
The Music Machine,
Traffic Nightmare,
Johnny Clarke,
Guru Guru,
The Kinks,
John Cale,
Theoretical Girls,
Marc Almond,
Urselle,
Eric B and Rakim,
kango's stein massive,
the Fania All-Stars,
Bobby Womack,
Delon & Dalcan,
Flipper, Flipper, Flipper, Flipper.
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.