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 Marshall Islands and from Lyon.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Madrid and Toronto.
I'm losing my edge to the art-school Beijing 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 harpsichord 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 Nik Kershaw to the funk 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 Sam Rivers. All the underground hits.
All The Invisible tracks. I heard you have a vinyl of every Jeru the Damaja record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Isaac Hayes,
Ohio Players,
Bootsy's Rubber Band,
Warren Ellis,
Deepchord,
Byron Stingily,
Grandmaster Flash,
Altered Images,
Heaven 17,
Banda Bassotti,
Darondo,
the Fania All-Stars,
John Coltrane,
Con Funk Shun,
Suburban Knight,
The Index,
Sugar Minott,
Kango’s Stein Massive,
Spandau Ballet,
Harmonia,
The Sisters of Mercy,
Marvin Gaye,
Circle Jerks,
The Birthday Party,
Quadrant,
Donald Byrd,
Newcleus,
Rapeman,
Smog,
The Fuzztones,
The Slits,
Leonard Cohen,
Von Mondo,
The Modern Lovers,
Richard Hell and the Voidoids,
The Seeds,
Delon & Dalcan,
Agitation Free,
Pussy Galore,
Kaleidoscope,
David Axelrod,
Buzzcocks,
Gian Franco Pienzio,
Jerry's Kids,
The Smoke,
Grey Daturas,
John Lydon,
Orchestral Manoeuvres in the Dark,
Gong,
DNA,
Charles Mingus,
Amazonics,
The Saints,
OOIOO,
Quantec,
The Blues Magoos,
Notorious BIG live in Amsterdam,
Liliput,
The West Coast Pop Art Experimental Band,
Ultramagnetic MC's,
Icehouse,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.