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 Mauritius and from Manchester.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Seoul and Accra.
I'm losing my edge to the art-school Jakarta 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 rhodes 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 Johnny Clarke to the rap 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 Moss Icon. All the underground hits.
All Vainqueur tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra record on German import.
I heard that you have a white label of every seminal crunk 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 a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Qualms,
Section 25,
Todd Terry,
Spandau Ballet,
Metal Thangz,
Motorama,
The Cure,
Little Man,
Cheater Slicks,
KRS-One,
Quadrant,
Mandrill,
Bush Tetras,
Kerrie Biddell,
Deutsch Amerikanische Freundschaft,
Y Pants,
Camron Feat. Jay Z And Juelz,
Los Fastidios,
Hardrive,
Mission of Burma,
David Axelrod,
Pagans,
Silicon Teens,
Schoolly D,
Kaleidoscope,
Boredoms,
Stiv Bators,
Kings Of Tomorrow,
Electric Light Orchestra,
Pantaleimon,
Barry Ungar,
Liaisons Dangereuses,
Cluster,
James Chance & The Contortions,
the Bar-Kays,
The Cramps,
Sun City Girls,
Jesper Dahlback,
Kool G Rap & DJ Polo,
The Detroit Cobras,
Bang on a Can All-Stars,
Sugar Minott,
New Age Steppers,
Magma,
Chrome,
Public Enemy,
The Leaves,
Surgeon,
Röyhkä ja Rättö ja Lehtisalo,
Moss Icon,
Marshall Jefferson,
Lalann,
Teenage Jesus and the Jerks,
Mad Mike,
Procol Harum,
T.S.O.L.,
The Electric Prunes,
Adolescents,
Malaria!, Malaria!, Malaria!, Malaria!.
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.