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 Kuwait and from Seoul.
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 1979.
I'm losing my edge.
To all the kids in Mexico City and Johannesburg.
I'm losing my edge to the art-school Paris 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 güiro sounds with much patience.
I was there when David Bowie 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 Count Five to the grime kids.
I played it at the Spitz.
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 Arab on Radar. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Gregory Isaacs record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
Scratch Acid,
Aural Exciters,
Trumans Water,
Roy Ayers Ubiquity,
Eli Mardock,
Connie Case,
The Flesh Eaters,
Black Bananas,
Scrapy,
Warsaw,
The Names,
Strawberry Alarm Clock,
The Sisters of Mercy,
Flipper,
Kerrie Biddell,
Half Japanese,
Jesper Dahlbäck,
Eve St. Jones,
Kurtis Blow,
Gary Puckett & The Union Gap,
The Leaves,
UT,
Bob Dylan,
Man Eating Sloth,
Rapeman,
Super Lover Cee & Casanova Rud,
Adolescents,
Funkadelic,
Ultravox,
This Heat,
Grauzone,
Animal Collective,
Isaac Hayes,
Pole,
Mission of Burma,
Young Marble Giants,
Pierre Henry,
New Age Steppers,
The Fall,
Selector Dub Narcotic,
Barclay James Harvest,
Masters at Work,
Electric Prunes,
Dorothy Ashby,
Average White Band,
Stiv Bators,
The Invisible,
Joey Negro,
Pete Rock & C.L. Smooth,
Jacques Brel,
Gichy Dan,
The Mighty Diamonds,
Sex Pistols,
The Cosmic Jokers,
Scott Walker + Sunn O))),
Frankie Knuckles,
The American Breed,
Heavy D & The Boyz,
Sandy B,
Avey Tare & Kría Brekkan,
Flamin' Groovies,
Lakeside, Lakeside, Lakeside, Lakeside.
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.