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 Panama and from Mexico City.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1967 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Shanghai.
I'm losing my edge to the art-school Mexico City 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Cluster 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 Fifty Foot Hose. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every Unrelated Segments 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 '50s cut and another box set from the '90s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
The Chocolate Watch Band,
Don Cherry,
K-Klass,
Flamin' Groovies,
The Remains,
Bad Manners,
Bizarre Inc.,
Dead Boys,
Babytalk,
Black Flag,
Ten City,
Josef K,
The Misunderstood,
Bob Dylan,
The Beau Brummels,
Nik Kershaw,
The Saints,
Chrome,
Blake Baxter,
David Bowie,
Audionom,
Robert Hood,
Wasted Youth,
Davy DMX,
CMW,
Wolf Eyes,
Soft Cell,
Thompson Twins,
Gang Starr,
Pagans,
The Fuzztones,
Index,
The Selecter,
Mark Hollis,
Mary Jane Girls,
The Last Poets,
Curtis Mayfield,
The Pop Group,
Von Mondo,
Con Funk Shun,
Gil Scott-Heron & Brian Jackson,
Rowland S Howard / Lydia Lunch,
UT,
Gichy Dan,
Cymande,
The Seeds,
Skriet,
Art Ensemble Of Chicago,
Sticky Fingaz feat. Raekwon,
Magma,
Second Layer,
ABC,
Fad Gadget,
Wighnomy Brothers & Robag Wruhme,
Rufus Thomas,
The Smiths,
Richard Hell and the Voidoids,
Donald Byrd,
Bootsy's Rubber Band,
Reuben Wilson,
L. Decosne,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.