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 Laos and from Spokane.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Houston and Sao Paulo.
I'm losing my edge to the art-school Beijing 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 güiro 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 United States of America to the funk kids.
I played it at the Astoria.
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 Minutemen. All the underground hits.
All Unwound tracks. I heard you have a vinyl of every Pulsallama 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Gang Starr record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Gil Scott-Heron and Jamie xx,
Moss Icon,
Blancmange,
The Star Department,
the Germs,
Scientists,
Brothers Johnson,
Susan Cadogan,
ABC,
The Associates,
Anakelly,
Bobby Byrd,
The Happenings,
Howard Jones,
The American Breed,
Avey Tare & Kría Brekkan,
Stereo Dub,
Half Japanese,
Desert Stars,
Minor Threat,
Bauhaus,
Mars,
Flash Fearless,
The Last Poets,
Barbara Tucker,
The Selecter,
Erasure,
London Community Gospel Choir,
Dave Gahan,
Con Funk Shun,
Roxette,
Suburban Knight,
Lou Reed,
Arab on Radar,
Average White Band,
Cecil Taylor,
The Martian,
Bobby Hutcherson,
Ituana,
Rowland S Howard / Lydia Lunch,
Oppenheimer Analysis,
Leonard Cohen,
Johnny Osbourne,
The Doobie Brothers,
Audionom,
Brass Construction,
The Evens,
Talk Talk,
Scott Walker,
Ossler,
James Chance & The Contortions,
Janne Schatter,
Tim Buckley,
Marine Girls,
The Five Americans,
Dark Day,
Kerrie Biddell,
The Barracudas,
Yazoo,
Ronnie Foster,
Magazine,
Popol Vuh,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.