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 Mali and from Lagos.
But I was there.
I was there in .
I was there at the first Suicide 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 1967 to 1979.
I'm losing my edge.
To all the kids in Shanghai and Delhi.
I'm losing my edge to the art-school Cairo 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 chamberlin 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 Minor Threat to the rock 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 Cal Tjader. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every Kurtis Blow 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Evens record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Terry,
Sugar Minott,
The Moleskins,
Connie Case,
Gang Gang Dance,
D'Angelo,
Pylon,
Althea and Donna,
Delon & Dalcan,
Supertramp,
Deepchord,
Cecil Taylor,
MDC,
Franke,
Metal Thangz,
The Fuzztones,
Lakeside,
The Toasters,
Minor Threat,
Lee Hazlewood,
Drexciya,
The Dave Clark Five,
Yusef Lateef,
Grandmaster Flash and the Furious Five,
Brass Construction,
a-ha,
10cc,
Nirvana,
DJ Style,
LL Cool J,
Slick Rick,
Johnny Clarke,
Erasure,
Man Parrish,
Leonard Cohen,
The Leaves,
UT,
John Cale,
David Axelrod,
June Days,
Young Marble Giants,
Fat Boys,
Sam Rivers,
Pete Rock & C.L. Smooth,
Thompson Twins,
Terror Squad Feat. Camron,
Suicide,
The Music Machine,
Roxy Music,
Dr. Dre and Snoop Doggy Dog,
Lou Christie,
Kenny Larkin,
Orchestral Manoeuvres in the Dark,
Agitation Free,
The Neon Judgement,
John Lydon,
Eric B and Rakim,
Harry Pussy,
the Slits,
John Coltrane,
Howard Jones,
The New Christs,
The Invisible,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.