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 Portugal and from Madrid.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Winnipeg.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the spring reverb 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 Flash Fearless to the rap kids.
I played it at the Crocodile.
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 Lightning Bolt. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every Joyce Sims record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Gories record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
Boogie Down Productions,
Flash Fearless,
The Chocolate Watch Band,
Moby Grape,
Eric B and Rakim,
Section 25,
Lizzy Mercier Descloux,
Michelle Simonal,
Jacob Miller,
The Grass Roots,
JFA,
The Sound,
Cheater Slicks,
Fluxion,
Sparks,
Robert Hood,
Donny Hathaway,
Shuggie Otis,
Quando Quango,
Gang Gang Dance,
The Martian,
Massinfluence,
Wire,
Barrington Levy,
Man Eating Sloth,
Technova,
Rod Modell,
The Offenders,
The Blackbyrds,
Traffic Nightmare,
Ultramagnetic MC's,
Magma,
Cabaret Voltaire,
Art Ensemble Of Chicago,
Graham Central Station,
Scion,
Fad Gadget,
The Divine Comedy,
Symarip,
Erasure,
Bill Near,
Jesper Dahlbäck,
Jandek,
Radiohead,
The Jesus and Mary Chain,
The Leaves,
Nas,
The Detroit Cobras,
Aural Exciters,
ABC,
Gerry Rafferty,
Saccharine Trust,
Jerry's Kids,
Lyres,
Barbara Tucker,
The Happenings,
Groovy Waters,
Fatback Band,
The Stooges,
The Wake,
Andrew Hill,
The Zeros, The Zeros, The Zeros, The Zeros.
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.