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 Burundi and from New York.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 Paris and Woodstock.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the clarinet sounds with much patience.
I was there when Robert Palmer 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 Boz Scaggs to the electroclash 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 Toni Rubio. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Mission of Burma record on German import.
I heard that you have a white label of every seminal disco 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 chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Stooges record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yellowson,
Kerrie Biddell,
L. Decosne,
Popol Vuh,
Electric Light Orchestra,
Pere Ubu,
Sonny Sharrock,
The Gun Club,
Eve St. Jones,
Grauzone,
David Axelrod,
Sparks,
Oneida,
Fela Kuti,
Audionom,
Barclay James Harvest,
Drive Like Jehu,
Reuben Wilson,
Nas,
Simply Red,
Banda Bassotti,
Liaisons Dangereuses,
Skarface,
Brass Construction,
Kool G Rap & DJ Polo,
The Young Rascals,
Drexciya,
Swans,
Erykah Badu,
Qualms,
Crispy Ambulance,
Chris & Cosey,
Warsaw,
Pole,
Glenn Branca,
The Beau Brummels,
Soul Sonic Force,
The Mojo Men,
Beasts of Bourbon,
The Smoke,
Bauhaus,
Peter and Kerry,
Monks,
Harmonia,
Jeru the Damaja,
Pharoah Sanders,
Dark Day,
Fifty Foot Hose,
The Real Kids,
Lakeside,
Symarip,
Girls At Our Best!,
KRS-One,
The Men They Couldn't Hang,
The American Breed,
Ronan,
Josef K,
Siouxsie and the Banshees,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.