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 Nigeria and from Portland.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Tehran and Mexico City.
I'm losing my edge to the art-school Tokyo 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Robert Hood to the rock kids.
I played it at the Spitz.
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 Severed Heads. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Tres Demented record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
The Toasters,
Duran Duran,
China Crisis,
Donny Hathaway,
Chris Corsano,
Harry Pussy,
Harpers Bizarre,
Janne Schatter,
The Fuzztones,
Lalann,
Teenage Jesus and the Jerks,
Heavy D & The Boyz,
the Bar-Kays,
Sandy B,
Echospace,
New Age Steppers,
June of 44,
Charles Mingus,
Motorama,
Masters at Work,
Gabor Szabo,
John Cale,
Oneida,
The Happenings,
Juan Atkins,
The Tremeloes,
The Cramps,
Gang Green,
Jawbox,
Depeche Mode,
Lizzy Mercier Descloux,
Selector Dub Narcotic,
Procol Harum,
Darondo,
James Chance & The Contortions,
Yazoo,
Be Bop Deluxe,
Bobbi Humphrey,
Terry Callier,
Brick,
Rekid,
Carl Craig,
the Normal,
Bronski Beat,
The Misunderstood,
Judy Mowatt,
Franke,
Negative Approach,
Basic Channel,
Roy Ayers Ubiquity,
Sun Ra Arkestra,
The Invisible,
Fort Wilson Riot,
Pharaoh Sanders and the Fire Engines,
The Men They Couldn't Hang,
Lightning Bolt,
Jeff Lynne,
Das Ding,
Mr. Review,
Ronnie Foster,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.