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 Australia and from Mexico City.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Lagos and Sao Paulo.
I'm losing my edge to the art-school Woodstock 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the linndrum sounds with much patience.
I was there when Captain Beefheart 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 Masters at Work to the jazz kids.
I played it at the Astoria.
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 Nas. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every Rhythm & Sound record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Judy Mowatt record.
I hear that you and your band have sold your güiro and bought a snare.
I hear that you and your band have sold your snare and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yusef Lateef,
Parry Music,
The Techniques,
Bluetip,
Simply Red,
The Moody Blues,
Jacques Brel,
Marshall Jefferson,
Clear Light,
The J.B.'s,
Faust,
Mary Jane Girls,
Howard Jones,
Spoonie Gee,
Camberwell Now,
Eyeless In Gaza,
Alphaville,
Electric Light Orchestra,
Gian Franco Pienzio,
ABC,
Cheater Slicks,
Dave Gahan,
The Sound,
Ohio Players,
K-Klass,
Oblivians,
Fugazi,
Black Sheep,
Sixth Finger,
MC5,
The Trojans,
Soulsonic Force,
Graham Central Station,
Brass Construction,
48th St. Collective,
The Shadows of Knight,
John Cale,
The Golliwogs,
The Sisters of Mercy,
Girls At Our Best!,
Bobbi Humphrey,
Vaughan Mason & Crew,
Tim Buckley,
Avey Tare & Kría Brekkan,
Arab on Radar,
Marine Girls,
Rekid,
The Real Kids,
Procol Harum,
The Mummies,
Bauhaus,
Kauko Röyhkä ja Narttu,
The Smoke,
Model 500,
Echo & the Bunnymen,
Roxy Music,
Pantytec,
Soft Cell,
The Grass Roots,
R.M.O.,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.