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 Kiribati and from Toronto.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Mumbai.
I'm losing my edge to the art-school Seoul 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 harpsichord 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 Grandmaster Flash and the Furious Five to the crunk kids.
I played it at Trash.
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 Blossom Toes. All the underground hits.
All Banda Bassotti tracks. I heard you have a vinyl of every Section 25 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 '50s cut and another box set from the '80s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Delon & Dalcan record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
AZ,
The Busters,
Freddie Wadling,
The Trojans,
Jeru the Damaja,
The Sound,
Kerri Chandler,
In Retrospect,
Mr. Review,
The Human League,
Lakeside,
Avey Tare & Kría Brekkan,
Albert Ayler,
Interpol,
Junior Murvin,
Vaughan Mason & Crew,
Gary Puckett & The Union Gap,
Lafayette Afro Rock Band,
UT,
Robert Görl,
Blancmange,
Liliput,
Jerry Gold Smith,
Crooked Eye,
Gabor Szabo,
Aaron Thompson,
The Mighty Diamonds,
The Walker Brothers,
Jeff Lynne,
Mary Jane Girls,
48th St. Collective,
Minnie Riperton,
Hardrive,
Hasil Adkins,
A Certain Ratio,
Drive Like Jehu,
The Cowsills,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Fuzztones,
The Names,
Bang on a Can All-Stars,
ABC,
The Alarm Clocks,
Joey Negro,
The Mojo Men,
Glambeats Corp.,
Ronan,
Chrome,
The Chocolate Watch Band,
Reuben Wilson,
Alton Ellis,
Buzzcocks,
Television,
Oblivians,
Gerry Rafferty,
Peter Gordon & Love of Life Orchestra,
Graham Central Station,
The Jesus and Mary Chain,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.