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 Azerbaijan and from Bremen.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Shanghai.
I'm losing my edge to the art-school Mexico City 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 chamberlin 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 Rakim to the electroclash kids.
I played it at the Crocodile.
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 Yusef Lateef. All the underground hits.
All Joe Finger tracks. I heard you have a vinyl of every Technova record on German import.
I heard that you have a white label of every seminal crunk 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 an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your marimba and bought a güiro.
I hear that you and your band have sold your güiro and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Qualms,
It's A Beautiful Day,
The Shadows of Knight,
Stetsasonic,
Dead Boys,
Gichy Dan,
The Moody Blues,
Youth Brigade,
Bobby Hutcherson,
Model 500,
Suicide,
Massinfluence,
the Fania All-Stars,
Tubeway Army,
In Retrospect,
Archie Shepp,
New York Dolls,
The West Coast Pop Art Experimental Band,
Gian Franco Pienzio,
Interpol,
Pantaleimon,
Country Joe & The Fish,
Captain Beefheart & His Magic Band,
Ken Boothe,
Gang Starr,
The Count Five,
Quantec,
Unrelated Segments,
Whodini,
Grandmaster Flash,
Fugazi,
Circle Jerks,
Pere Ubu,
Bootsy Collins,
L. Decosne,
Barrington Levy,
The Mojo Men,
The Residents,
Crispian St. Peters,
Gil Scott-Heron & Brian Jackson,
Oneida,
Pantytec,
Quando Quango,
Ultravox,
Ultramagnetic MC's,
Lou Reed,
Soulsonic Force,
DJ Style,
Ludus,
Vainqueur,
Flamin' Groovies,
Darondo,
The Sound,
Lower 48,
Be Bop Deluxe,
Harpers Bizarre,
Bronski Beat,
Section 25,
Shoche,
48th St. Collective,
Slick Rick, Slick Rick, Slick Rick, Slick Rick.
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.