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 France and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1973.
I'm losing my edge.
To all the kids in Jakarta and Woodstock.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the marimba sounds with much patience.
I was there when Donald Fagen 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 Graham Central Station to the crunk kids.
I played it at the Troubador.
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 CMW. All the underground hits.
All X-102 tracks. I heard you have a vinyl of every Slave 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ice-T record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
Robert Hood,
The Dead C,
Radiopuhelimet,
Erasure,
Dawn Penn,
Avey Tare's Slasher Flicks,
Jacob Miller,
Black Sheep,
Terrestrial Tones,
Symarip,
Black Moon,
Country Teasers,
Howard Jones,
Flash Fearless,
Public Image Ltd.,
Avey Tare & Kría Brekkan,
Jawbox,
Excepter,
Sun City Girls,
Rotary Connection,
Sugar Minott,
Sarah Menescal,
Soul Sonic Force,
Junior Murvin,
Swans,
Chris & Cosey,
Eric Dolphy,
The Fugs,
The Slits,
MC5,
Jacques Brel,
The Move,
Mantronix,
Parry Music,
The Neon Judgement,
Oblivians,
Animal Collective,
Curtis Mayfield,
Archie Shepp,
Jandek,
The Mojo Men,
Marvin Gaye,
Eric Copeland,
Stetsasonic,
New Age Steppers,
Panda Bear,
Lyres,
Iggy Pop,
Ohio Players,
The Invisible,
Essential Logic,
Graham Central Station,
Black Bananas,
Newcleus,
Rosa Yemen,
FM Einheit,
Sun Ra Arkestra,
Hasil Adkins,
Depeche Mode,
Kool G Rap & DJ Polo,
Frankie Knuckles,
Mandrill,
Yazoo,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.