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 Grenada and from Manchester.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Manila and Lille.
I'm losing my edge to the art-school London 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 linndrum 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 The Index to the jazz kids.
I played it at the Hacienda.
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 Isaac Hayes. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every Sticky Fingaz feat. Raekwon 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 '70s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a U.S. Maple record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Jandek,
Archie Shepp,
Dorothy Ashby,
Kings Of Tomorrow,
Maleditus Sound,
Lucky Dragons,
Johnny Osbourne,
Minutemen,
Newcleus,
Man Parrish,
Negative Approach,
Boredoms,
Jerry Gold Smith,
Super Lover Cee & Casanova Rud,
Robert Hood,
Avey Tare's Slasher Flicks,
Rowland S Howard / Lydia Lunch,
The Five Americans,
Wighnomy Brothers & Robag Wruhme,
Quadrant,
The Cowsills,
The Fall,
8 Eyed Spy,
the Association,
Lonnie Liston Smith,
Kaleidoscope,
Vaughan Mason & Crew,
In Retrospect,
Angels of Light & Akron/Family,
The Men They Couldn't Hang,
Grauzone,
Stockholm Monsters,
Alphaville,
Barrington Levy,
Franke,
Larry & the Blue Notes,
Tropical Tobacco,
a-ha,
Desert Stars,
Delon & Dalcan,
Strawberry Alarm Clock,
The Doobie Brothers,
the Human League,
Deepchord,
Mary Jane Girls,
Andrew Ashong & Theo Parrish,
Wolf Eyes,
Danielle Patucci,
Clear Light,
Anthony Braxton,
Throbbing Gristle,
Graham Central Station,
Gil Scott-Heron & Brian Jackson,
Bush Tetras,
Tres Demented,
Vainqueur,
Arab on Radar,
Tom Boy,
Duran Duran,
Organ,
The Blues Magoos,
The Names, The Names, The Names, The Names.
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.