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 Zimbabwe and from Beijing.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1961 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Winnipeg.
I'm losing my edge to the art-school Sao Paulo 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 marimba sounds with much patience.
I was there when Nile Rodgers 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 Rod Modell to the grime 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 Stereo Dub. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Johnny Osbourne 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 a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Misunderstood record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Joe & The Fish,
Lucky Dragons,
Ludus,
The Martian,
Neu!,
The Moleskins,
Dual Sessions,
Joe Smooth,
Minutemen,
Suburban Knight,
Yellowson,
Crime,
Bronski Beat,
Iggy Pop,
a-ha,
Boz Scaggs,
Grandmaster Flash and the Furious Five,
The Moody Blues,
Soft Cell,
Theoretical Girls,
H. Thieme,
Underground Resistance,
Magazine,
The Pop Group,
Black Bananas,
Aaron Thompson,
The Grass Roots,
Neil Young,
The Knickerbockers,
Bauhaus,
the Swans,
Glambeats Corp.,
The Offenders,
Main Source,
Shoche,
Erykah Badu,
Erasure,
Inner City,
Reagan Youth,
Sun Ra Arkestra,
Surgeon,
Dr. Dre and Snoop Doggy Dog,
Jeru the Damaja,
Pete Rock & C.L. Smooth,
The Gladiators,
New Age Steppers,
FM Einheit,
Althea and Donna,
Slave,
Derrick May,
Camron Feat. Memphis Bleek And Beenie Seigel,
Swell Maps,
Warsaw,
Wolf Eyes,
Rahsaan Roland Kirk,
Minor Threat,
E-Dancer,
The Barracudas,
The Black Dice,
In Retrospect,
Shuggie Otis,
Pantytec, Pantytec, Pantytec, Pantytec.
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.