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 Malta and from Madrid.
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 1977.
I'm losing my edge.
To all the kids in London and Salvador.
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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Alice Coltrane to the jazz 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 Selector Dub Narcotic. All the underground hits.
All Guru Guru tracks. I heard you have a vinyl of every Jacob Miller 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 '80s cut and another box set from the '90s.
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 Röyhkä ja Rättö ja Lehtisalo 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?
The Leaves,
Susan Cadogan,
Aswad,
The Blackbyrds,
the Fania All-Stars,
Judy Mowatt,
Sugar Minott,
Jesper Dahlbäck,
Man Eating Sloth,
A Flock of Seagulls,
Bang on a Can All-Stars,
Unwound,
Tropical Tobacco,
Essential Logic,
Siglo XX,
The Saints,
Fela Kuti,
Tears for Fears,
Jerry Gold Smith,
Bad Manners,
Jeff Mills,
The Trojans,
Black Flag,
Nico,
The Peanut Butter Conspiracy,
Crime,
Skaos,
Isaac Hayes,
Robert Görl,
Joey Negro,
Visage,
Little Man,
Black Bananas,
Animal Collective,
Rosa Yemen,
The Count Five,
Underground Resistance,
Fear,
Todd Rundgren,
Audionom,
Anthony Braxton,
Pere Ubu,
Marvin Gaye,
U.S. Maple,
The Sound,
Gil Scott Heron,
Shoche,
the Association,
Marc Almond,
Masters at Work,
Wire,
Supertramp,
X-101,
Traffic Nightmare,
The Fire Engines,
Oblivians,
Harry Pussy,
Lou Reed,
Albert Ayler,
Oppenheimer Analysis,
The American Breed,
Model 500, Model 500, Model 500, Model 500.
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.