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 Gambia and from Toronto.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Lyon and Delhi.
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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Agitation Free to the rap kids.
I played it at the Crocodile.
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 Soft Machine. All the underground hits.
All Ice-T tracks. I heard you have a vinyl of every Siglo XX 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 arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Symarip record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
Soft Cell,
Kool Moe Dee,
Parry Music,
Sister Nancy,
UT,
In Retrospect,
Kevin Saunderson,
Matthew Halsall,
Suburban Knight,
Quando Quango,
Desert Stars,
Gian Franco Pienzio,
Scan 7,
Steve Hackett,
Be Bop Deluxe,
Infiniti,
The Golliwogs,
a-ha,
Popol Vuh,
Black Sheep,
Urselle,
Saccharine Trust,
Average White Band,
Hasil Adkins,
Tropical Tobacco,
Kayak,
Hashim,
Barrington Levy,
Idris Muhammad,
Wire,
Derrick Morgan,
The Dirtbombs,
Motorama,
Gil Scott-Heron and Jamie xx,
The Music Machine,
Magazine,
The Pop Group,
Second Layer,
the Sonics,
Marmalade,
Pole,
Crispy Ambulance,
Terry Callier,
Hardrive,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jacob Miller,
Ornette Coleman,
Nation of Ulysses,
Lindisfarne,
Frankie Knuckles,
Marc Almond,
Cameo,
Siouxsie and the Banshees,
The Doobie Brothers,
Talk Talk,
Pet Shop Boys,
The Saints,
Ultimate Spinach,
Ponytail,
Young Marble Giants,
Delta 5,
Stereo Dub,
Barbara Tucker, Barbara Tucker, Barbara Tucker, Barbara Tucker.
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.