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 Mongolia and from Tehran.
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 1968 to 1970.
I'm losing my edge.
To all the kids in New York and Toronto.
I'm losing my edge to the art-school Johannesburg 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 the Fania All-Stars to the funk 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 Bobby Hutcherson. All the underground hits.
All Procol Harum tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Cymande record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
The Associates,
Sarah Menescal,
Lakeside,
Kevin Saunderson,
U.S. Maple,
Lalo Schifrin,
Bobbi Humphrey,
Joy Division,
Model 500,
Oneida,
Mars,
Basic Channel,
Grandmaster Flash,
Dorothy Ashby,
Mark Hollis,
Johnny Clarke,
Ornette Coleman,
Warsaw,
Sixth Finger,
Wire,
Liliput,
UT,
Khruangbin,
Chrome,
Spandau Ballet,
Pete Rock & C.L. Smooth,
Bobby Hutcherson,
Subhumans,
Mandrill,
Louis and Bebe Barron,
kango's stein massive,
Major Organ And The Adding Machine,
Lou Reed,
Aloha Tigers,
Soft Cell,
Marc Almond,
Urselle,
Flipper,
Minny Pops,
Donald Byrd,
Minutemen,
Public Enemy,
Richard Hell and the Voidoids,
The Chocolate Watch Band,
Crooked Eye,
Letta Mbulu,
Charles Mingus,
Ken Boothe,
These Immortal Souls,
Scan 7,
The Sisters of Mercy,
Jandek,
The Jesus and Mary Chain,
David Bowie,
Avey Tare's Slasher Flicks,
Cameo,
The Red Krayola,
Bauhaus,
Radiohead,
Deepchord,
Country Teasers, Country Teasers, Country Teasers, Country Teasers.
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.