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 Zimbabwe and from Halifax.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Salvador and Taipei.
I'm losing my edge to the art-school Philadelphia 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Prince Buster to the grunge kids.
I played it at the 40 Watt.
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 Q65. All the underground hits.
All Nas tracks. I heard you have a vinyl of every The Moleskins record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 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 Black Dice,
The Moleskins,
Rufus Thomas,
Youth Brigade,
Los Fastidios,
Darondo,
Deepchord,
The Mojo Men,
Slave,
Masters at Work,
B.T. Express,
The Blackbyrds,
Fatback Band,
Unrelated Segments,
Make Up,
Flamin' Groovies,
MC5,
Maleditus Sound,
Massinfluence,
Ultravox,
Dawn Penn,
Kerri Chandler,
Lakeside,
Reagan Youth,
The Remains,
Zero Boys,
Todd Terry,
Crispy Ambulance,
H. Thieme,
The Sonics,
DNA,
Rosa Yemen,
Gian Franco Pienzio,
Lebanon Hanover,
The Invisible,
ABC,
Aswad,
Bobbi Humphrey,
Kurtis Blow,
Adolescents,
Minny Pops,
Louis and Bebe Barron,
Nick Fraelich,
Organ,
Ohio Players,
Joe Smooth,
New Age Steppers,
Porter Ricks,
Television,
The Chocolate Watch Band,
Dead Boys,
Bronski Beat,
The Star Department,
Siglo XX,
Rhythm & Sound,
Eric Dolphy,
Skaos,
Delta 5,
Saccharine Trust,
Matthew Bourne,
The Cramps,
Gil Scott-Heron & Brian Jackson,
Roy Ayers,
Magazine,
Funky Four + One, Funky Four + One, Funky Four + One, Funky Four + One.
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.