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 Syria and from Winnipeg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Seoul and New York.
I'm losing my edge to the art-school Hong Kong 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 mellotron 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 Josef K to the rap 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 Tommy Roe. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Crooked Eye record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Clear Light record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Underground Resistance,
Rapeman,
The Offenders,
Thinking Fellers Union Local 282,
The Alarm Clocks,
ABC,
Half Japanese,
Susan Cadogan,
R.M.O.,
Schoolly D,
48th St. Collective,
Hot Snakes,
Deepchord,
Parry Music,
Maleditus Sound,
In Retrospect,
Jeff Mills,
Arcadia,
Panda Bear,
Soul II Soul,
Orchestral Manoeuvres in the Dark,
Excepter,
MC5,
Scion,
Angry Samoans,
Nick Fraelich,
The West Coast Pop Art Experimental Band,
The Black Dice,
Pharaoh Sanders and the Fire Engines,
Peter & Gordon,
The Victims,
The Music Machine,
Kauko Röyhkä ja Narttu,
Fat Boys,
Intrusion,
Public Enemy,
Yusef Lateef,
Aswad,
Ossler,
Grey Daturas,
Vainqueur,
Rakim,
Von Mondo,
Archie Shepp,
The Gories,
Thee Headcoats,
Qualms,
Selector Dub Narcotic,
Dual Sessions,
Scientists,
World's Most,
Cybotron,
Althea and Donna,
Freddie Wadling,
Gil Scott Heron,
Peter Gordon & Love of Life Orchestra,
The Sonics,
The Wake,
Delta 5,
The Saints,
Radio Birdman,
Lou Reed & John Cale,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.