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 Macedonia and from Philadelphia.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Calgary and Halifax.
I'm losing my edge to the art-school Seoul 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the clarinet sounds with much patience.
I was there when Holger Czukay 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 Association to the electroclash kids.
I played it at CBGB's.
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 Bootsy Collins. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every The Blackbyrds 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 '70s cut and another box set from the '70s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Bowie,
David McCallum,
Black Sheep,
The Fuzztones,
The Fire Engines,
Jawbox,
Terry Callier,
Heavy D & The Boyz,
Monolake,
The Detroit Cobras,
Andrew Hill,
Robert Görl,
The Skatalites,
Saccharine Trust,
Gil Scott-Heron and Jamie xx,
The Barracudas,
Grandmaster Flash and the Furious Five,
The Trojans,
Matthew Halsall,
Amon Düül II,
Sällskapet,
Bobby Sherman,
Maurizio,
UT,
Sugar Minott,
Rekid,
Bad Manners,
Cal Tjader,
Easy Going,
Mantronix,
the Human League,
Graham Central Station,
The Misunderstood,
the Sonics,
DNA,
Ohio Players,
The New Christs,
Davy DMX,
Metal Thangz,
Nico,
Notorious Big And Bone Thugs,
Pylon,
The Motions,
E-Dancer,
Vainqueur,
Jeru the Damaja,
China Crisis,
Drexciya,
The Zeros,
Boogie Down Productions,
Flipper,
Interpol,
Warren Ellis,
The Golliwogs,
JFA,
Michelle Simonal,
Inner City,
Mission of Burma,
Letta Mbulu,
Curtis Mayfield,
Tropical Tobacco, Tropical Tobacco, Tropical Tobacco, Tropical Tobacco.
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.