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 United Kingdom and from Lyon.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Mumbai.
I'm losing my edge to the art-school Tokyo 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 Holger Czukay 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 Big Daddy Kane to the techno kids.
I played it at CBGB's.
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 The Gap Band. All the underground hits.
All Stiv Bators tracks. I heard you have a vinyl of every Grauzone record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Lucky Dragons record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Thee Headcoats,
Justin Hinds & The Dominoes,
Gil Scott Heron,
Chrome,
Deadbeat,
Ohio Players,
Rakim,
Faraquet,
Bill Near,
The Alarm Clocks,
Little Man,
Scion,
Davy DMX,
Joensuu 1685,
Quadrant,
Fifty Foot Hose,
Main Source,
Fear,
The Moleskins,
Fatback Band,
R.M.O.,
The Fugs,
Theoretical Girls,
Yusef Lateef,
Joyce Sims,
Marvin Gaye,
The Flesh Eaters,
Gil Scott-Heron & Brian Jackson,
Con Funk Shun,
Red Lorry Yellow Lorry,
Ajijia Myrayebe,
Japan,
Pantytec,
Talk Talk,
Letta Mbulu,
The Skatalites,
Throbbing Gristle,
The Human League,
cv313,
Mandrill,
Johnny Clarke,
The Cure,
Second Layer,
Anthony Braxton,
Derrick May,
Skriet,
Kauko Röyhkä ja Narttu,
Adolescents,
The Cosmic Jokers,
Kenny Larkin,
Public Image Ltd.,
Ken Boothe,
The Five Americans,
Oppenheimer Analysis,
Cecil Taylor,
Organ,
Judy Mowatt,
Howard Jones,
Funkadelic,
Ralphi Rosario, Ralphi Rosario, Ralphi Rosario, Ralphi Rosario.
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.