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 Comoros and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Tehran and Toronto.
I'm losing my edge to the art-school Bologna 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 snare 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 Art Ensemble Of Chicago 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 Crash Course in Science. All the underground hits.
All The Sound tracks. I heard you have a vinyl of every Tears for Fears record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope record.
I hear that you and your band have sold your 808 and bought a sitar.
I hear that you and your band have sold your sitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
The Alarm Clocks,
the Fania All-Stars,
Don Cherry,
Rhythm & Sound,
Avey Tare & Kría Brekkan,
The Smiths,
Sandy B,
Carl Craig,
Bang on a Can All-Stars,
Babytalk,
Jimmy McGriff,
Sun Ra,
Ultramagnetic MC's,
Liliput,
Rotary Connection,
Symarip,
The United States of America,
Rhythim Is Rhythim,
Notorious BIG live in Amsterdam,
Röyhkä ja Rättö ja Lehtisalo,
The Techniques,
Charles Mingus,
Sad Lovers and Giants,
Susan Cadogan,
the Bar-Kays,
Notorious Big And Bone Thugs,
The Misunderstood,
John Foxx,
Spandau Ballet,
Pharaoh Sanders and the Fire Engines,
New Order,
Stockholm Monsters,
Black Flag,
Lee Hazlewood,
Lucky Dragons,
Kenny Larkin,
Spoonie Gee,
Skaos,
Bad Manners,
The Cure,
Radiopuhelimet,
Main Source,
Jesper Dahlbäck,
Piero Umiliani,
MC5,
Amazonics,
The Monochrome Set,
Brand Nubian,
Eyeless In Gaza,
Clear Light,
Boredoms,
Mantronix,
Kevin Saunderson,
D'Angelo,
The Sound,
Unrelated Segments,
Pantaleimon,
Larry & the Blue Notes,
Gil Scott-Heron & Brian Jackson,
X-102,
Cal Tjader,
Sister Nancy,
H. Thieme, H. Thieme, H. Thieme, H. Thieme.
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.