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 Azerbaijan and from Lyon.
But I was there.
I was there in 1973.
I was there at the first Television 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 1965 to 1975.
I'm losing my edge.
To all the kids in Halifax and Portland.
I'm losing my edge to the art-school Portland 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 sitar sounds with much patience.
I was there when Robert Palmer 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 Sticky Fingaz feat. Raekwon 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 Idris Muhammad. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Index 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 '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Drexciya,
Electric Prunes,
Surgeon,
Prince Buster,
Anthony Braxton,
Tommy Roe,
Dorothy Ashby,
Kings Of Tomorrow,
Gabor Szabo,
Newcleus,
Lou Reed,
Aural Exciters,
Harpers Bizarre,
Boz Scaggs,
Toni Rubio,
Lizzy Mercier Descloux,
Jesper Dahlback,
Quantec,
Sister Nancy,
Easy Going,
Pagans,
Thompson Twins,
Funkadelic,
Todd Rundgren,
Richard Hell and the Voidoids,
The Peanut Butter Conspiracy,
Ten City,
The Star Department,
Angry Samoans,
Visionaries,LMNO, T- Love & Iriscience,
Marine Girls,
Simply Red,
The Grass Roots,
Gang of Four,
Silicon Teens,
Yusef Lateef,
Man Parrish,
Deakin,
Nirvana,
Glambeats Corp.,
Hot Snakes,
Scott Walker,
Hashim,
Gil Scott-Heron & Brian Jackson,
The Detroit Cobras,
Scion,
Fluxion,
Red Lorry Yellow Lorry,
Urselle,
kango's stein massive,
The Fugs,
10cc,
Theoretical Girls,
Gang Starr,
Young Marble Giants,
Gary Puckett & The Union Gap,
Kerrie Biddell,
Pharoah Sanders,
Traffic Nightmare,
The Smiths, The Smiths, The Smiths, The Smiths.
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.