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 Panama and from Toronto.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1960 to 1971.
I'm losing my edge.
To all the kids in Taipei and Bremen.
I'm losing my edge to the art-school Toronto 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 chamberlin 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 Sunsets and Hearts to the rock kids.
I played it at the Astoria.
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 Magma. All the underground hits.
All Zero Boys tracks. I heard you have a vinyl of every James White and The Blacks 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Monks record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Roy Ayers Ubiquity,
The Selecter,
Absolute Body Control,
Lonnie Liston Smith,
The Sound,
Deutsch Amerikanische Freundschaft,
Underground Resistance,
The Mummies,
Mad Mike,
John Coltrane,
Black Moon,
Brass Construction,
Stereo Dub,
Crime,
Skaos,
Sun City Girls,
Black Sheep,
Grandmaster Flash and the Furious Five,
ABBA,
Lizzy Mercier Descloux,
Richard Hell and the Voidoids,
Camron Feat. Jay Z And Juelz,
London Community Gospel Choir,
Captain Beefheart & His Magic Band,
The Fortunes,
Johnny Clarke,
U.S. Maple,
Infiniti,
Joe Finger,
The Busters,
Roxy Music,
Pussy Galore,
The Young Rascals,
Rahsaan Roland Kirk,
Metal Thangz,
Letta Mbulu,
Jimmy McGriff,
Blossom Toes,
Anakelly,
The Durutti Column,
Boogie Down Productions,
Leonard Cohen,
Bobby Hutcherson,
Traffic Nightmare,
Aaron Thompson,
Pole,
Tubeway Army,
Quadrant,
Drive Like Jehu,
Soulsonic Force,
John Holt,
Donny Hathaway,
Eddi Front,
Angry Samoans,
Black Pus,
The Grass Roots,
Kings Of Tomorrow,
Hardrive,
The Invisible,
Fort Wilson Riot,
Electric Light Orchestra,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.