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 Lebanon and from Stockholm.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Halifax and Madrid.
I'm losing my edge to the art-school Copenhagen 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the linndrum 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 Rapeman to the crunk 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 Blancmange. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every The Selecter record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
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 Prince Buster 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?
Justin Hinds & The Dominoes,
Ornette Coleman,
Judy Mowatt,
Dennis Brown,
Big Daddy Kane,
Maleditus Sound,
Malaria!,
Selector Dub Narcotic,
Derrick Morgan,
Ultramagnetic MC's,
Kango’s Stein Massive,
Thinking Fellers Union Local 282,
Goldenarms,
Duran Duran,
Rakim,
R.M.O.,
Gichy Dan,
Sarah Menescal,
Suicide,
The Real Kids,
Au Pairs,
Ossler,
Zapp,
The Monochrome Set,
Gang Starr,
The Gladiators,
Angry Samoans,
Prince Buster,
The Martian,
the Association,
Albert Ayler,
Strawberry Alarm Clock,
Sex Pistols,
The Cramps,
Gil Scott-Heron and Jamie xx,
The Blackbyrds,
Television Personalities,
The Shadows of Knight,
Zero Boys,
Mad Mike,
Supertramp,
Newcleus,
Archie Shepp,
Barry Ungar,
The Count Five,
Lalo Schifrin,
Joe Smooth,
D'Angelo,
X-Ray Spex,
F. McDonald,
Bronski Beat,
Suburban Knight,
Scion,
Cheater Slicks,
The Saints,
The Alarm Clocks,
Chris Corsano,
The Mummies,
Sunsets and Hearts,
Lindisfarne,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.