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 Dominican Republic and from Delhi.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Cairo.
I'm losing my edge to the art-school Winnipeg 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the güiro sounds with much patience.
I was there when Donald Fagen 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 Roy Ayers to the grime kids.
I played it at the Crocodile.
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 Soft Cell. All the underground hits.
All Jawbox tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Piero Umiliani,
Chrome,
The Fire Engines,
Cal Tjader,
Howard Jones,
A Certain Ratio,
ABBA,
Gary Puckett & The Union Gap,
Gang Green,
Mandrill,
Lightning Bolt,
Tears for Fears,
Harry Pussy,
Yaz,
Fluxion,
Aural Exciters,
The Flesh Eaters,
Deepchord,
Ossler,
The Victims,
Oneida,
Eve St. Jones,
Cecil Taylor,
Fifty Foot Hose,
Main Source,
Selector Dub Narcotic,
The Golliwogs,
JFA,
The Grass Roots,
X-102,
The Vogues,
Pagans,
the Swans,
Camron Feat. Memphis Bleek And Beenie Seigel,
Television Personalities,
Parry Music,
The Moleskins,
Scion,
Bill Wells,
The Gun Club,
Sam Rivers,
Pantytec,
Strawberry Alarm Clock,
Kevin Saunderson,
Chris Corsano,
Wighnomy Brothers & Robag Wruhme,
Ralphi Rosario,
Tropical Tobacco,
Stereo Dub,
Aswad,
Al Stewart,
Depeche Mode,
Scan 7,
Con Funk Shun,
John Foxx,
Gang Starr,
Matthew Halsall,
Fatback Band,
Moebius,
Marshall Jefferson,
Ten City,
Spandau Ballet,
Simply Red,
Mr. Review, Mr. Review, Mr. Review, Mr. Review.
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.