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 Bangladesh and from Paris.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 Mexico City and Jakarta.
I'm losing my edge to the art-school Spokane 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 marimba sounds with much patience.
I was there when Michael McDonald 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 Sound Behaviour to the electroclash kids.
I played it at the 40 Watt.
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 Stereo Dub. All the underground hits.
All Negative Approach tracks. I heard you have a vinyl of every Sugar Minott record on German import.
I heard that you have a white label of every seminal grime 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 rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your snare and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dennis Brown,
Vaughan Mason & Crew,
Au Pairs,
The Cowsills,
John Coltrane,
Louis and Bebe Barron,
The Barracudas,
Silicon Teens,
Fugazi,
Franke,
DJ Sneak,
Underground Resistance,
Barclay James Harvest,
Rekid,
Ken Boothe,
Intrusion,
Dead Boys,
Magazine,
Larry & the Blue Notes,
Janne Schatter,
Essential Logic,
Bill Near,
The United States of America,
Whodini,
Ornette Coleman,
Delta 5,
Black Sheep,
Byron Stingily,
Main Source,
Flash Fearless,
Con Funk Shun,
Liaisons Dangereuses,
Fad Gadget,
Fluxion,
Pierre Henry,
Vainqueur,
Jacob Miller,
The Techniques,
Section 25,
Marc Romboy vs. Booka Shade,
Minor Threat,
kango's stein massive,
The Gladiators,
China Crisis,
Quadrant,
Todd Rundgren,
Ohio Players,
The Vogues,
Gong,
The Remains,
Gichy Dan,
Sun City Girls,
JFA,
Buzzcocks,
Pylon,
Sex Pistols,
X-101,
A Flock of Seagulls,
Connie Case,
Animal Collective, Animal Collective, Animal Collective, Animal Collective.
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.