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 Liberia and from New York.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Delhi and Tokyo.
I'm losing my edge to the art-school Edmonton 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 oboe sounds with much patience.
I was there when Holger Czukay 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 Bootsy Collins to the grime kids.
I played it at Cafe Wha.
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 Fear. All the underground hits.
All Richard Hell and the Voidoids tracks. I heard you have a vinyl of every Terror Squad Feat. Camron record on German import.
I heard that you have a white label of every seminal techno 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 marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The J.B.'s record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Aswad,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Gap Band,
Half Japanese,
New Age Steppers,
The Modern Lovers,
Morten Harket,
Marcia Griffiths,
Neil Young & Crazy Horse,
Second Layer,
The Mojo Men,
The Walker Brothers,
Todd Rundgren,
Bill Near,
Mission of Burma,
Adolescents,
The Divine Comedy,
DeepChord presents Echospace,
The Pretty Things,
Terrestrial Tones,
48th St. Collective,
Dead Boys,
the Association,
Oblivians,
Funky Four + One,
Ituana,
Black Sheep,
Mantronix,
Al Stewart,
Mad Mike,
Swell Maps,
Supertramp,
Marc Romboy vs. Booka Shade,
Colin Newman,
Parry Music,
Model 500,
Crooked Eye,
The Vogues,
Mark Hollis,
Soft Cell,
Quantec,
Soft Machine,
Spandau Ballet,
Marine Girls,
The Searchers,
Graham Central Station,
Talk Talk,
Harry Pussy,
Terry Callier,
Bang on a Can All-Stars,
Idris Muhammad,
The Busters,
Joe Smooth,
Camouflage,
Boogie Down Productions,
Electric Light Orchestra,
La Düsseldorf,
Prince Buster,
Lungfish,
Brick, Brick, Brick, Brick.
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.