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 Belize and from Salvador.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1970.
I'm losing my edge.
To all the kids in Madrid and Lille.
I'm losing my edge to the art-school New York 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 güiro sounds with much patience.
I was there when David Bowie 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 John Holt to the jazz kids.
I played it at Cafe Wha.
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 Yusef Lateef. All the underground hits.
All Lee Hazlewood tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare 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?
The Mojo Men,
Los Fastidios,
Sixth Finger,
Nick Fraelich,
Oppenheimer Analysis,
Bill Wells,
Gang Starr,
Franke,
Tears for Fears,
Young Marble Giants,
The Gap Band,
Eli Mardock,
Pantaleimon,
Visage,
Hasil Adkins,
Johnny Clarke,
Gang Gang Dance,
The Divine Comedy,
Lou Reed & John Cale,
Donald Byrd,
Jeru the Damaja,
Drexciya,
Funkadelic,
Yellowson,
Unrelated Segments,
Crispy Ambulance,
Ornette Coleman,
Rowland S Howard / Lydia Lunch,
Roy Ayers Ubiquity,
Y Pants,
Grauzone,
Derrick Morgan,
Brass Construction,
Kool G Rap & DJ Polo,
Steve Hackett,
Scientists,
Alice Coltrane,
The Music Machine,
Tommy Roe,
Jandek,
Procol Harum,
Bobbi Humphrey,
Juan Atkins,
Lakeside,
Big Daddy Kane,
Brand Nubian,
New York Dolls,
Dual Sessions,
Minor Threat,
Gichy Dan,
Pierre Henry,
Aaron Thompson,
Porter Ricks,
Cybotron,
The Five Americans,
Michelle Simonal,
Massinfluence,
Sun Ra,
Vainqueur,
Mo-Dettes,
Larry & the Blue Notes,
the Soft Cell,
Hardrive,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.