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 Bahrain and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Bologna and Glasgow.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the sitar sounds with much patience.
I was there when Nile Rodgers 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 The Chocolate Watch Band to the rap 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 JFA. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every Marvin Gaye 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Country Teasers record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
Dorothy Ashby,
Pharoah Sanders,
Average White Band,
Charles Mingus,
Alphaville,
The Detroit Cobras,
The Star Department,
The Standells,
Ultravox,
Gil Scott Heron,
Richard Hell and the Voidoids,
The Electric Prunes,
Warsaw,
cv313,
Marmalade,
Lou Reed & John Cale,
Barrington Levy,
DNA,
Ultra Naté,
Camron Feat. Memphis Bleek And Beenie Seigel,
Scientists,
Thee Headcoats,
Suburban Knight,
B.T. Express,
Simply Red,
Second Layer,
Deadbeat,
Siouxsie and the Banshees,
Tropical Tobacco,
The United States of America,
Lou Reed & Metallica,
Jawbox,
John Cale,
Nils Olav,
Avey Tare & Kría Brekkan,
Eli Mardock,
Sly & The Family Stone,
Marshall Jefferson,
Amon Düül,
Sarah Menescal,
Eve St. Jones,
Pantaleimon,
AZ,
Little Man,
Au Pairs,
Dark Day,
Henry Cow,
Absolute Body Control,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Ronnie Foster,
Gichy Dan,
Agent Orange,
Flash Fearless,
KRS-One,
The Young Rascals,
Niagra,
Moby Grape,
Sexual Harrassment, Sexual Harrassment, Sexual Harrassment, Sexual Harrassment.
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.