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 Haiti and from Delhi.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and London.
I'm losing my edge to the art-school Bologna 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the snare 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 Average White Band to the grunge 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 Traffic Nightmare. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Donny Hathaway 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a DNA record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
James Chance & The Contortions,
Jacob Miller,
The Count Five,
Slave,
Scientists,
Heaven 17,
Sticky Fingaz feat. Raekwon,
Bauhaus,
Kenny Larkin,
Electric Light Orchestra,
Gian Franco Pienzio,
London Community Gospel Choir,
Soft Machine,
Gabor Szabo,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Blackbyrds,
Robert Wyatt,
The Music Machine,
E-Dancer,
Lizzy Mercier Descloux,
Lou Reed,
Graham Central Station,
Nation of Ulysses,
Shuggie Otis,
Lee Hazlewood,
Mandrill,
T. Rex,
X-Ray Spex,
Skaos,
The Fire Engines,
Pere Ubu,
Reagan Youth,
Procol Harum,
Model 500,
Roxette,
Boz Scaggs,
10cc,
Wings,
Scrapy,
Echo & the Bunnymen,
Deepchord,
Freddie Wadling,
Traffic Nightmare,
PIL,
Tommy Roe,
Oppenheimer Analysis,
Joe Smooth,
R.M.O.,
Black Bananas,
Lucky Dragons,
Ajijia Myrayebe,
Jerry's Kids,
Bootsy's Rubber Band,
Big Daddy Kane,
Pierre Henry,
David Bowie,
Dorothy Ashby,
Pantaleimon,
Jawbox,
Blancmange,
Morten Harket,
Selector Dub Narcotic,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.