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 Peru and from Manila.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Tehran and Johannesburg.
I'm losing my edge to the art-school Accra 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 Holger Czukay 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 Soft Machine to the rap kids.
I played it at Cafe Wha.
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 Con Funk Shun. All the underground hits.
All Notorious Big And Bone Thugs tracks. I heard you have a vinyl of every World's Most 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Negative Approach,
Newcleus,
The Fire Engines,
Boogie Down Productions,
The Slits,
The Count Five,
cv313,
Todd Terry,
Vaughan Mason & Crew,
Nick Fraelich,
Eve St. Jones,
The Stooges,
Los Fastidios,
the Sonics,
Wolf Eyes,
Joyce Sims,
Avey Tare,
Janne Schatter,
Kayak,
Scion,
Oppenheimer Analysis,
Roxy Music,
Clear Light,
The Techniques,
Sonny Sharrock,
Peter & Gordon,
Rekid,
Mr. Review,
Angels of Light & Akron/Family,
Crime,
Scientists,
Art Ensemble Of Chicago,
OOIOO,
Crooked Eye,
New Order,
Cluster,
Jeff Lynne,
Danielle Patucci,
Matthew Halsall,
Tropical Tobacco,
The Skatalites,
KRS-One,
The Beau Brummels,
Anthony Braxton,
Andrew Ashong & Theo Parrish,
Carl Craig,
Byron Stingily,
Echo & the Bunnymen,
Soul II Soul,
The New Christs,
Boredoms,
The Mojo Men,
The Mummies,
Hasil Adkins,
Bobby Sherman,
Chris Corsano,
Accadde A,
Siouxsie and the Banshees,
Deadbeat,
The Cure,
Magma,
Gong,
Lungfish, Lungfish, Lungfish, Lungfish.
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.