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 Comoros and from Salvador.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Bologna and Delhi.
I'm losing my edge to the art-school Halifax 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 snare sounds with much patience.
I was there when Lou Reed 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 Pharaoh Sanders and the Fire Engines to the rock kids.
I played it at the Astoria.
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 Teenage Jesus and the Jerks. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every Stetsasonic 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 '70s cut and another box set from the '90s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Juan Atkins,
Spoonie Gee,
Lonnie Liston Smith,
Suburban Knight,
The Tremeloes,
FM Einheit,
The Count Five,
Derrick May,
Michelle Simonal,
The Modern Lovers,
Alice Coltrane,
Jerry's Kids,
Red Lorry Yellow Lorry,
Ice-T,
Bizarre Inc.,
Gabor Szabo,
Kenny Larkin,
Matthew Bourne,
Sun Ra Arkestra,
David Bowie,
Lee Hazlewood,
Pete Rock & C.L. Smooth,
K-Klass,
Agent Orange,
Godley & Creme,
Fluxion,
June of 44,
Aloha Tigers,
Traffic Nightmare,
These Immortal Souls,
World's Most,
Rosa Yemen,
The Fuzztones,
Sam Rivers,
Peter and Kerry,
Grandmaster Flash,
The Knickerbockers,
Idris Muhammad,
The Move,
Procol Harum,
Smog,
cv313,
The Misunderstood,
London Community Gospel Choir,
Mars,
Gerry Rafferty,
Sticky Fingaz feat. Raekwon,
Average White Band,
Aural Exciters,
Cheater Slicks,
De La Soul & Jungle Brothers,
Silicon Teens,
Prince Buster,
Porter Ricks,
Ultravox,
Pulsallama,
Kerri Chandler,
Jandek,
The Evens,
Stockholm Monsters,
Todd Rundgren, Todd Rundgren, Todd Rundgren, Todd Rundgren.
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.