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 Serbia and from Edmonton.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1978.
I'm losing my edge.
To all the kids in Jakarta and Lagos.
I'm losing my edge to the art-school London 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 marimba sounds with much patience.
I was there when Michael McDonald 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 Bobby Womack to the funk 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 Sticky Fingaz feat. Raekwon. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every Funky Four + One 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 '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
The Motions,
Gian Franco Pienzio,
Dorothy Ashby,
Wire,
In Retrospect,
a-ha,
Reagan Youth,
Sun Ra,
The Doors,
Red Lorry Yellow Lorry,
Ituana,
Deepchord,
Neu!,
Althea and Donna,
Deadbeat,
Frankie Knuckles,
Magma,
Fat Boys,
Fifty Foot Hose,
Louis and Bebe Barron,
Patti Smith,
Swell Maps,
Monolake,
Shuggie Otis,
Archie Shepp,
Skriet,
Minnie Riperton,
Section 25,
Bronski Beat,
Alton Ellis,
Teenage Jesus and the Jerks,
Youth Brigade,
Roxette,
Peter and Kerry,
Traffic Nightmare,
Delon & Dalcan,
Scratch Acid,
48th St. Collective,
Max Romeo,
Pete Rock & C.L. Smooth,
Barry Ungar,
Severed Heads,
Shoche,
Joe Smooth,
The Vogues,
Josef K,
Aural Exciters,
The Last Poets,
Lalann,
Theoretical Girls,
Ornette Coleman,
Crooked Eye,
Deutsch Amerikanische Freundschaft,
Nik Kershaw,
Toni Rubio,
Dark Day,
The Royal Family And The Poor,
Simply Red,
Marshall Jefferson,
The United States of America,
The Fortunes,
Marmalade, Marmalade, Marmalade, Marmalade.
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.