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 Honduras and from Seoul.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1965 to 1978.
I'm losing my edge.
To all the kids in Manchester and Spokane.
I'm losing my edge to the art-school Milan 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 sitar sounds with much patience.
I was there when Lou Reed 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 Donald Byrd to the dance kids.
I played it at CBGB's.
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 World's Most. All the underground hits.
All Moby Grape tracks. I heard you have a vinyl of every Mission of Burma 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 '80s cut and another box set from the '90s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Marc Almond,
Robert Wyatt,
Masters at Work,
Niagra,
Deepchord,
Todd Terry,
Donald Byrd,
Mandrill,
KRS-One,
Stereo Dub,
T. Rex,
the Human League,
Au Pairs,
Matthew Bourne,
The American Breed,
Tropical Tobacco,
The Tremeloes,
The Last Poets,
The Litter,
48th St. Collective,
Ten City,
New Age Steppers,
Amazonics,
The Angels of Light,
Country Joe & The Fish,
Röyhkä ja Rättö ja Lehtisalo,
The Trojans,
Todd Rundgren,
Main Source,
Youth Brigade,
Sad Lovers and Giants,
The Cure,
The Royal Family And The Poor,
Boz Scaggs,
Scion,
K-Klass,
Siouxsie and the Banshees,
The Kinks,
Nik Kershaw,
DJ Sneak,
Echo & the Bunnymen,
John Holt,
Ohio Players,
Mary Jane Girls,
Subhumans,
Arab on Radar,
Rotary Connection,
Von Mondo,
Negative Approach,
Drexciya,
Malaria!,
Tom Boy,
Lou Reed,
Pantaleimon,
Pantytec,
The Music Machine,
Supertramp,
Johnny Osbourne,
Avey Tare & Kría Brekkan,
Alice Coltrane,
Moby Grape,
Angry Samoans, Angry Samoans, Angry Samoans, Angry Samoans.
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.