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 Saudi Arabia and from Columbus.
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 1973.
I'm losing my edge.
To all the kids in Woodstock and Taipei.
I'm losing my edge to the art-school Accra 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 chamberlin 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 Ajijia Myrayebe to the dance 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 Cameo. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every Camouflage record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Leaves record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Byrd,
The Shadows of Knight,
Beasts of Bourbon,
The Buckinghams,
Joensuu 1685,
The Flesh Eaters,
Babytalk,
Zapp,
D'Angelo,
Ossler,
Blancmange,
Gary Puckett & The Union Gap,
Avey Tare's Slasher Flicks,
The Red Krayola,
Gerry Rafferty,
Aaron Thompson,
Rekid,
Essential Logic,
The Men They Couldn't Hang,
Richard Hell and the Voidoids,
The Fugs,
The Gap Band,
Harpers Bizarre,
Tommy Roe,
Magazine,
The Pop Group,
8 Eyed Spy,
Heavy D & The Boyz,
Juan Atkins,
Wolf Eyes,
Public Enemy,
Sugar Minott,
Echo & the Bunnymen,
Blake Baxter,
Massinfluence,
Make Up,
Kango’s Stein Massive,
The Techniques,
The Searchers,
Public Image Ltd.,
John Cale,
Chrome,
Yaz,
Soft Cell,
Motorama,
DNA,
Todd Terry,
Los Fastidios,
Heaven 17,
Banda Bassotti,
K-Klass,
Metal Thangz,
The Peanut Butter Conspiracy,
Kaleidoscope,
Derrick Morgan,
Cybotron,
Kool G Rap & DJ Polo,
DJ Style,
Rhythm & Sound,
kango's stein massive,
T.S.O.L., T.S.O.L., T.S.O.L., T.S.O.L..
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.