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 South Africa and from Spokane.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Jakarta.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the 808 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 Danielle Patucci to the jazz kids.
I played it at the Roxy.
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 Gregory Isaacs. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every The Grass Roots 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 theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Country Joe & The Fish record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Isaac Hayes,
James Chance & The Contortions,
K-Klass,
Reuben Wilson,
Donald Byrd,
Bang on a Can All-Stars,
Procol Harum,
Icehouse,
Robert Hood,
Saccharine Trust,
The Last Poets,
The Velvet Underground,
Marc Almond,
The Index,
Grauzone,
8 Eyed Spy,
Ajijia Myrayebe,
ABBA,
Skarface,
Hashim,
AZ,
Jeff Lynne,
Gil Scott-Heron and Jamie xx,
Nik Kershaw,
Notorious Big And Bone Thugs,
Kauko Röyhkä ja Narttu,
Brass Construction,
Yazoo,
The Sonics,
Glenn Branca,
Masters at Work,
Sun Ra,
Jimmy McGriff,
Faust,
Todd Terry,
Country Joe & The Fish,
Stiv Bators,
Rekid,
Y Pants,
Kool Moe Dee,
Pylon,
Yellowson,
Gang Starr,
Amon Düül,
Dave Gahan,
B.T. Express,
Pulsallama,
Neu!,
Gregory Isaacs,
Soft Cell,
The Tremeloes,
X-Ray Spex,
In Retrospect,
Rhythm & Sound,
Bizarre Inc.,
Donny Hathaway,
Black Flag,
The Sound,
Sixth Finger,
PIL, PIL, PIL, PIL.
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.