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 Manchester.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Spokane and Edmonton.
I'm losing my edge to the art-school Philadelphia 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 clarinet 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 Frankie Knuckles to the crunk kids.
I played it at the 40 Watt.
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 In Retrospect. All the underground hits.
All 10cc tracks. I heard you have a vinyl of every Terrestrial Tones record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Big Daddy Kane record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
Kayak,
Schoolly D,
Stereo Dub,
Crash Course in Science,
Audionom,
Nik Kershaw,
Faust,
James White and The Blacks,
Echo & the Bunnymen,
Second Layer,
Model 500,
Sun Ra Arkestra,
The Last Poets,
Sam Rivers,
Fugazi,
AZ,
Kurtis Blow,
Crooked Eye,
Soul Sonic Force,
Sight & Sound,
Frankie Knuckles,
Newcleus,
The Martian,
Harpers Bizarre,
Selector Dub Narcotic,
New Order,
the Fania All-Stars,
Yusef Lateef,
John Holt,
Man Eating Sloth,
Rites of Spring,
World's Most,
Eurythmics,
Cybotron,
Captain Beefheart & His Magic Band,
Drive Like Jehu,
Sun Ra,
Isaac Hayes,
kango's stein massive,
Hot Snakes,
Henry Cow,
The Index,
Vainqueur,
Idris Muhammad,
Robert Hood,
Susan Cadogan,
Gary Puckett & The Union Gap,
Index,
Jawbox,
UT,
Cluster,
Accadde A,
Toni Rubio,
Bizarre Inc.,
Andrew Ashong & Theo Parrish,
Lower 48,
Procol Harum,
Rufus Thomas,
Avey Tare & Kría Brekkan,
Fifty Foot Hose,
The Gladiators,
Radio Birdman,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.