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 Micronesia and from Calgary.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Spokane and Taipei.
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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the organ sounds with much patience.
I was there when Michael McDonald 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 Selecter to the jazz kids.
I played it at the Troubador.
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 Selector Dub Narcotic. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every Robert Hood 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 '90s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Bowie,
Zapp,
Skriet,
Gang Green,
Jawbox,
Flash Fearless,
London Community Gospel Choir,
Johnny Clarke,
Pylon,
Rites of Spring,
The Last Poets,
New York Dolls,
Boogie Down Productions,
Jimmy McGriff,
Shoche,
La Düsseldorf,
Chrome,
Cymande,
Brick,
48th St. Collective,
Procol Harum,
JFA,
Archie Shepp,
Toni Rubio,
In Retrospect,
Super Lover Cee & Casanova Rud,
Delon & Dalcan,
Agitation Free,
Wally Richardson,
Joe Smooth,
UT,
Bauhaus,
The Motions,
Vladislav Delay,
Ten City,
The Durutti Column,
Howard Jones,
The Gun Club,
Lonnie Liston Smith,
Sun Ra,
Robert Görl,
Juan Atkins,
Nik Kershaw,
Freddie Wadling,
Don Cherry,
Nas,
Derrick May,
Gang of Four,
The Standells,
Lalo Schifrin,
Adolescents,
Deutsch Amerikanische Freundschaft,
Lyres,
Lower 48,
Cabaret Voltaire,
Soul Sonic Force,
Camron Feat. Memphis Bleek And Beenie Seigel,
Motorama,
Lindisfarne,
Easy Going,
The Young Rascals,
Dennis Brown,
Grey Daturas,
Connie Case, Connie Case, Connie Case, Connie Case.
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.