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 Comoros and from Houston.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school Beijing 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 1967 at the first Rodriguez 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 June of 44 to the electroclash kids.
I played it at the Hacienda.
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 Faust. All the underground hits.
All Archie Shepp tracks. I heard you have a vinyl of every Gregory Isaacs record on German import.
I heard that you have a white label of every seminal techno 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 marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a N.O.R.E. Featuring Pharrell record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
Larry & the Blue Notes,
Michelle Simonal,
Bill Near,
The Slackers,
Bauhaus,
The Beau Brummels,
Marmalade,
B.T. Express,
Arthur Verocai,
Bob Dylan,
Strawberry Alarm Clock,
Radiopuhelimet,
Kenny Larkin,
Bobby Byrd,
Soul Sonic Force,
Stereo Dub,
Reagan Youth,
Gang Gang Dance,
Audionom,
Grandmaster Flash and the Furious Five,
Jacques Brel,
The Evens,
Parry Music,
Sticky Fingaz feat. Raekwon,
The Five Americans,
Infiniti,
the Germs,
Steve Hackett,
Sällskapet,
Patti Smith,
Sister Nancy,
Joyce Sims,
Sun City Girls,
The Gladiators,
The Smoke,
The Last Poets,
Swell Maps,
Jerry's Kids,
Amon Düül II,
Andrew Ashong & Theo Parrish,
Unwound,
The Jesus and Mary Chain,
The Alarm Clocks,
Tres Demented,
The Cowsills,
Mars,
Intrusion,
De La Soul & Jungle Brothers,
Lafayette Afro Rock Band,
Von Mondo,
Ornette Coleman,
Livin' Joy,
The Slits,
Cabaret Voltaire,
The Blues Magoos,
The Sisters of Mercy,
Monolake,
Yazoo,
Gil Scott Heron,
K-Klass,
The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band.
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.