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 Macedonia and from Lagos.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Mumbai.
I'm losing my edge to the art-school Tehran 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 Charles Mingus to the crunk kids.
I played it at the Roxy.
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 Barry Ungar. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish 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 '70s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
La Düsseldorf,
Cameo,
Sun Ra,
Dark Day,
The Men They Couldn't Hang,
Throbbing Gristle,
Tomorrow,
Prince Buster,
Kerri Chandler,
Cheater Slicks,
Chris Corsano,
Spoonie Gee,
Parry Music,
John Foxx,
Johnny Osbourne,
Bluetip,
Technova,
the Sonics,
Echospace,
Slick Rick,
The Moody Blues,
Second Layer,
Sticky Fingaz feat. Raekwon,
AZ,
Gang Starr,
X-102,
The Zeros,
Radiopuhelimet,
Shuggie Otis,
Q and Not U,
Vladislav Delay,
Mantronix,
Ronnie Foster,
The Sisters of Mercy,
Agent Orange,
Lungfish,
Black Bananas,
the Swans,
Tears for Fears,
The Buckinghams,
The Five Americans,
Buzzcocks,
Cymande,
The Chocolate Watch Band,
Mr. Review,
Sly & The Family Stone,
Camron Feat. Memphis Bleek And Beenie Seigel,
Soulsonic Force,
Jeru the Damaja,
Mary Jane Girls,
10cc,
Negative Approach,
Laurel Aitken,
Lonnie Liston Smith,
James White and The Blacks,
Au Pairs,
Cecil Taylor,
Derrick May,
In Retrospect,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.