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 China and from Edmonton.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Salvador and Jakarta.
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 harpsichord 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 Terry Callier 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 Mandrill. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every La Düsseldorf record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Tears for Fears record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Negative Approach,
Y Pants,
Von Mondo,
Groovy Waters,
Ice-T,
Röyhkä ja Rättö ja Lehtisalo,
B.T. Express,
The Beau Brummels,
Todd Terry,
Aaron Thompson,
Franke,
Brass Construction,
UT,
Amon Düül,
the Fania All-Stars,
Basic Channel,
Altered Images,
Bobbi Humphrey,
Easy Going,
Liliput,
Wasted Youth,
Ohio Players,
The Cowsills,
Banda Bassotti,
Sällskapet,
Section 25,
Joy Division,
Big Daddy Kane,
Hashim,
Junior Murvin,
Fluxion,
Dead Boys,
Kings Of Tomorrow,
Symarip,
Flipper,
Loose Ends,
cv313,
The Jesus and Mary Chain,
Flamin' Groovies,
Quando Quango,
The Electric Prunes,
Can,
Robert Wyatt,
The Cure,
David Axelrod,
Skarface,
Moby Grape,
New Order,
Scan 7,
Audionom,
Warsaw,
Teenage Jesus and the Jerks,
Carl Craig,
Swell Maps,
Masters at Work,
Brand Nubian,
The Cosmic Jokers,
The Fuzztones,
Wire,
Joensuu 1685,
Toni Rubio,
Model 500,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.