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 Cyprus and from Tokyo.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Madrid and Columbus.
I'm losing my edge to the art-school Lagos 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 Holger Czukay 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 The Blues Magoos to the dance kids.
I played it at Cafe Wha.
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 Mandrill. All the underground hits.
All Altered Images tracks. I heard you have a vinyl of every Alison Limerick 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Outsiders record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
Todd Rundgren,
Rhythim Is Rhythim,
Hoover,
The Black Dice,
T.S.O.L.,
Depeche Mode,
Lee Hazlewood,
Pole,
Liliput,
Organ,
Theoretical Girls,
Robert Hood,
Bootsy Collins,
The Saints,
Dorothy Ashby,
Wolf Eyes,
Soft Cell,
The Music Machine,
Judy Mowatt,
AZ,
Traffic Nightmare,
Fluxion,
The Fortunes,
The Gun Club,
Fatback Band,
The Angels of Light,
Bauhaus,
The Happenings,
the Slits,
Fort Wilson Riot,
Ultramagnetic MC's,
Barbara Tucker,
Roxette,
a-ha,
Quadrant,
Röyhkä ja Rättö ja Lehtisalo,
Rahsaan Roland Kirk,
Aloha Tigers,
Freddie Wadling,
Deepchord,
Eve St. Jones,
Gregory Isaacs,
The Shadows of Knight,
Captain Beefheart & His Magic Band,
the Bar-Kays,
Rekid,
Todd Terry,
Michelle Simonal,
The Mummies,
Kerri Chandler,
Public Image Ltd.,
The Fall,
The Mojo Men,
Kerrie Biddell,
Ralphi Rosario,
Tres Demented,
Neil Young,
Bobby Womack,
Spoonie Gee,
UT,
Subhumans,
Thinking Fellers Union Local 282,
The Selecter, The Selecter, The Selecter, The Selecter.
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.