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 Nicaragua and from Accra.
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 1961 to 1974.
I'm losing my edge.
To all the kids in New York and Salvador.
I'm losing my edge to the art-school Delhi 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 Captain Beefheart 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 Mo-Dettes to the dance 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 Alton Ellis. All the underground hits.
All Davy DMX tracks. I heard you have a vinyl of every Marine Girls 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 '90s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
Peter & Gordon,
The Victims,
Easy Going,
Japan,
Ohio Players,
The Young Rascals,
Boogie Down Productions,
Dead Boys,
Sly & The Family Stone,
Eve St. Jones,
Jeff Mills,
Tubeway Army,
Electric Prunes,
Alton Ellis,
Faust,
Jesper Dahlback,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Popol Vuh,
Siglo XX,
Wire,
Rhythm & Sound,
Freddie Wadling,
The Evens,
Depeche Mode,
Kaleidoscope,
R.M.O.,
Sparks,
Porter Ricks,
Dave Gahan,
Skarface,
Black Sheep,
Harry Pussy,
Bill Wells,
John Cale,
Scan 7,
Patti Smith,
Scrapy,
Dr. Dre and Snoop Doggy Dog,
Roxette,
June Days,
Inner City,
Electric Light Orchestra,
The Remains,
Thinking Fellers Union Local 282,
A Flock of Seagulls,
Bizarre Inc.,
Hashim,
Toni Rubio,
Grauzone,
The Busters,
Masters at Work,
Suburban Knight,
Nico,
Barry Ungar,
Henry Cow,
Procol Harum,
The Gories,
L. Decosne,
Second Layer,
Qualms,
ABBA,
Blossom Toes,
Heavy D & The Boyz,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.