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 Egypt and from London.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Stockholm.
I'm losing my edge to the art-school Bremen 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 clarinet 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 Jacques Brel to the rap kids.
I played it at Trash.
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 the Fania All-Stars. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every Royal Trux 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a World's Most record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Bush Tetras,
Anakelly,
B.T. Express,
Kaleidoscope,
Warsaw,
LL Cool J,
Lower 48,
Shoche,
Accadde A,
X-102,
The West Coast Pop Art Experimental Band,
Liaisons Dangereuses,
Quantec,
Buzzcocks,
Gil Scott-Heron & Brian Jackson,
Todd Rundgren,
Mark Hollis,
Fort Wilson Riot,
Black Flag,
Kenny Larkin,
ABBA,
Nirvana,
Gregory Isaacs,
Interpol,
Byron Stingily,
Steve Hackett,
Ronan,
The Pop Group,
Ajijia Myrayebe,
Ultra Naté,
Rapeman,
Deutsch Amerikanische Freundschaft,
Little Man,
Yazoo,
Don Cherry,
Brick,
Kool G Rap & DJ Polo,
Sam Rivers,
Heavy D & The Boyz,
Wighnomy Brothers & Robag Wruhme,
FM Einheit,
The Shadows of Knight,
June of 44,
The Zeros,
Liliput,
Livin' Joy,
Rotary Connection,
Sarah Menescal,
One Last Wish,
Camron Feat. Jay Z And Juelz,
The Last Poets,
Mission of Burma,
Marc Romboy vs. Booka Shade,
Urselle,
Ultramagnetic MC's,
Technova,
Tubeway Army,
Sparks,
Flash Fearless,
Ossler,
Major Organ And The Adding Machine,
Rod Modell, Rod Modell, Rod Modell, Rod Modell.
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.