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 Jordan and from Philadelphia.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 Manchester and Hong Kong.
I'm losing my edge to the art-school Paris 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 synthesizer 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 Moss Icon to the electroclash kids.
I played it at the Troubador.
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 Big Daddy Kane. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every X-101 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 '70s cut and another box set from the '90s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
Hasil Adkins,
Pharoah Sanders,
The Pretty Things,
Pantytec,
Flamin' Groovies,
The Slits,
Beasts of Bourbon,
Groovy Waters,
Reuben Wilson,
Dead Boys,
Adolescents,
It's A Beautiful Day,
Unwound,
Avey Tare & Kría Brekkan,
Swans,
Deutsch Amerikanische Freundschaft,
Magazine,
The Pop Group,
The Sound,
Intrusion,
Terry Callier,
the Association,
Kenny Larkin,
the Germs,
David Axelrod,
The Real Kids,
Sly & The Family Stone,
The Invisible,
Cameo,
Slick Rick,
Roy Ayers,
The Searchers,
Cymande,
Terror Squad Feat. Camron,
Pole,
The Slackers,
The Stooges,
Cal Tjader,
De La Soul & Jungle Brothers,
Jeru the Damaja,
Roy Ayers Ubiquity,
Lonnie Liston Smith,
Röyhkä ja Rättö ja Lehtisalo,
Jawbox,
The Neon Judgement,
Junior Murvin,
Peter and Kerry,
Kango’s Stein Massive,
Outsiders,
the Sonics,
Howard Jones,
Popol Vuh,
Panda Bear,
EPMD,
Fatback Band,
Joe Finger,
Drexciya,
Dawn Penn,
Inner City,
Gil Scott Heron,
Trumans Water, Trumans Water, Trumans Water, Trumans Water.
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.