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 Congo and from Accra.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Paris and Portland.
I'm losing my edge to the art-school Tehran 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 1973 at the first Television practice in a loft in New York.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 Neon Judgement to the electroclash 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 Roy Ayers Ubiquity. All the underground hits.
All Jandek tracks. I heard you have a vinyl of every 10cc record on German import.
I heard that you have a white label of every seminal punk 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 a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
Dark Day,
ABC,
Joy Division,
Pere Ubu,
China Crisis,
Pharoah Sanders,
Jerry's Kids,
Simply Red,
Darondo,
Crime,
Porter Ricks,
Ten City,
Hardrive,
New York Dolls,
AZ,
Toni Rubio,
Lalo Schifrin,
Cluster,
Gong,
Iggy Pop,
Manfred Mann's Earth Band,
David McCallum,
the Slits,
Ohio Players,
Kevin Saunderson,
Niagra,
Moby Grape,
Banda Bassotti,
8 Eyed Spy,
Lightning Bolt,
The Black Dice,
Sad Lovers and Giants,
Visage,
Wighnomy Brothers & Robag Wruhme,
The Raincoats,
The Standells,
Kas Product,
Radiopuhelimet,
These Immortal Souls,
Shuggie Otis,
De La Soul & Jungle Brothers,
Nico,
Yazoo,
Super Lover Cee & Casanova Rud,
Soft Machine,
Art Ensemble Of Chicago,
Albert Ayler,
Quadrant,
Rhythim Is Rhythim,
Johnny Clarke,
Hashim,
Agent Orange,
Andrew Hill,
Trumans Water,
Lou Reed & John Cale,
The Tremeloes,
48th St. Collective,
The Saints,
The Cure,
Organ,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.