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 Guatemala and from New York.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school Hong Kong 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 synthesizer 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 Pharaoh Sanders and the Fire Engines to the dance 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 Gong. All the underground hits.
All UT tracks. I heard you have a vinyl of every Tubeway Army record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Reagan Youth record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
Delta 5,
Depeche Mode,
Audionom,
Beasts of Bourbon,
Heavy D & The Boyz,
Cheater Slicks,
Mary Jane Girls,
Bang On A Can,
Popol Vuh,
Laurel Aitken,
Banda Bassotti,
the Association,
The Dirtbombs,
The Fortunes,
Maleditus Sound,
This Heat,
Boogie Down Productions,
The Fire Engines,
Tommy Roe,
The American Breed,
Terrestrial Tones,
Maurizio,
Sparks,
Joey Negro,
Chrome,
Scion,
Nas,
The Velvet Underground,
Man Eating Sloth,
Panda Bear,
Cybotron,
London Community Gospel Choir,
Soulsonic Force,
Kevin Saunderson,
Smog,
Dorothy Ashby,
Barry Ungar,
Arcadia,
John Lydon,
Lafayette Afro Rock Band,
Slick Rick,
Peter Gordon & Love of Life Orchestra,
Echospace,
Organ,
These Immortal Souls,
Robert Görl,
Roy Ayers Ubiquity,
Kas Product,
Lalo Schifrin,
Lightning Bolt,
Royal Trux,
Deadbeat,
Lou Reed,
Reuben Wilson,
The Trojans,
X-102,
Danielle Patucci,
Andrew Ashong & Theo Parrish,
the Slits,
Eli Mardock,
Desert Stars, Desert Stars, Desert Stars, Desert Stars.
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.