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 Bahrain and from Shanghai.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Lille.
I'm losing my edge to the art-school New York 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 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 The Slits to the disco kids.
I played it at the Crocodile.
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 Qualms. All the underground hits.
All the Fania All-Stars tracks. I heard you have a vinyl of every Sam Rivers record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scientists,
Anthony Braxton,
Aswad,
The Alarm Clocks,
CMW,
Make Up,
London Community Gospel Choir,
Frankie Knuckles,
Notorious Big And Bone Thugs,
Echo & the Bunnymen,
Panda Bear,
Sly & The Family Stone,
Joensuu 1685,
Eli Mardock,
Marshall Jefferson,
The Dave Clark Five,
Interpol,
Crash Course in Science,
Toni Rubio,
Eden Ahbez,
The Young Rascals,
The Real Kids,
Soft Cell,
Vaughan Mason & Crew,
Symarip,
Audionom,
Infiniti,
Albert Ayler,
Faraquet,
The Royal Family And The Poor,
Sexual Harrassment,
Beasts of Bourbon,
Deepchord,
Kaleidoscope,
Gang Starr,
Electric Prunes,
Youth Brigade,
Arab on Radar,
The Fugs,
U.S. Maple,
Bush Tetras,
Banda Bassotti,
The Smiths,
Tubeway Army,
The West Coast Pop Art Experimental Band,
Moss Icon,
Lungfish,
Heavy D & The Boyz,
Man Eating Sloth,
Theoretical Girls,
Minnie Riperton,
Swell Maps,
Roy Ayers,
Captain Beefheart & His Magic Band,
Dead Boys,
Alphaville,
The Mummies,
One Last Wish,
Mark Hollis,
Manfred Mann's Earth Band,
The Black Dice,
The Slackers, The Slackers, The Slackers, The Slackers.
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.