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 Kenya and from Sao Paulo.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Spokane and Columbus.
I'm losing my edge to the art-school Salvador 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the güiro 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 Fatback Band to the grunge kids.
I played it at the Hacienda.
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 CMW. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every B.T. Express record on German import.
I heard that you have a white label of every seminal rock 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 an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Gang Green record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Grass Roots,
Magma,
ABC,
Clear Light,
Janne Schatter,
The Wake,
Newcleus,
The Standells,
Mark Hollis,
Echospace,
Lou Reed & John Cale,
Nick Fraelich,
Lou Christie,
Eve St. Jones,
Pierre Henry,
Rhythm & Sound,
Gerry Rafferty,
John Foxx,
Drexciya,
Judy Mowatt,
A Flock of Seagulls,
Basic Channel,
Big Daddy Kane,
The Invisible,
Stetsasonic,
Iggy Pop,
Nik Kershaw,
Con Funk Shun,
Symarip,
Urselle,
Larry & the Blue Notes,
the Slits,
The Busters,
Tomorrow,
Boogie Down Productions,
Buzzcocks,
Bob Dylan,
The Human League,
Camron Feat. Memphis Bleek And Beenie Seigel,
Gil Scott-Heron and Jamie xx,
Johnny Osbourne,
Connie Case,
Fatback Band,
Royal Trux,
Radiohead,
Zero Boys,
Rakim,
Man Parrish,
Captain Beefheart & His Magic Band,
Pagans,
Glenn Branca,
Faraquet,
X-101,
K-Klass,
Peter and Kerry,
Bobby Hutcherson,
Colin Newman,
Dennis Brown,
London Community Gospel Choir,
Harry Pussy,
Das Ding,
The Sonics,
Masters at Work,
The Red Krayola, The Red Krayola, The Red Krayola, The Red Krayola.
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.