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 Algeria and from Columbus.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Jakarta and London.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the guitar sounds with much patience.
I was there when Nile Rodgers 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 Kevin Saunderson to the punk kids.
I played it at the Spitz.
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 The West Coast Pop Art Experimental Band. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Quantec record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a linndrum 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 clarinet and bought a marimba.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jimmy McGriff,
The Electric Prunes,
MC5,
Pharaoh Sanders and the Fire Engines,
Mark Hollis,
Bizarre Inc.,
Rekid,
Skriet,
Vaughan Mason & Crew,
Public Image Ltd.,
The Martian,
Be Bop Deluxe,
The Durutti Column,
Todd Rundgren,
Deepchord,
Parry Music,
Index,
Electric Prunes,
Masters at Work,
Richard Hell and the Voidoids,
Second Layer,
Dark Day,
A Certain Ratio,
Camouflage,
The New Christs,
Jacques Brel,
Bobby Byrd,
Erykah Badu,
L. Decosne,
Public Enemy,
Gary Puckett & The Union Gap,
Lightning Bolt,
Eurythmics,
Notorious Big And Bone Thugs,
Icehouse,
Danielle Patucci,
Simply Red,
Soul Sonic Force,
The Star Department,
F. McDonald,
Mo-Dettes,
Joey Negro,
Drive Like Jehu,
The Red Krayola,
The Misunderstood,
T. Rex,
Toni Rubio,
Porter Ricks,
Zapp,
Visionaries,LMNO, T- Love & Iriscience,
Max Romeo,
E-Dancer,
Rod Modell,
Marmalade,
Skaos,
Robert Wyatt,
Mantronix,
Popol Vuh,
Silicon Teens,
Lalo Schifrin,
Hasil Adkins,
Rowland S Howard / Lydia Lunch,
The Toasters,
Johnny Osbourne,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.