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 Jamaica and from Manchester.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and New York.
I'm losing my edge to the art-school Manila 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Unwound to the crunk kids.
I played it at the Troubador.
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 Bobbi Humphrey. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every Traffic Nightmare record on German import.
I heard that you have a white label of every seminal dance 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 a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Jerry's Kids,
Althea and Donna,
ABC,
PIL,
Interpol,
Ludus,
Jeru the Damaja,
The Birthday Party,
Sarah Menescal,
Sunsets and Hearts,
Roy Ayers,
Lindisfarne,
Terrestrial Tones,
Lee Hazlewood,
The Jesus and Mary Chain,
Iggy Pop,
Aswad,
Röyhkä ja Rättö ja Lehtisalo,
Angels of Light & Akron/Family,
The Vogues,
Black Moon,
The Blues Magoos,
De La Soul & Jungle Brothers,
David Axelrod,
John Coltrane,
Girls At Our Best!,
Moebius,
kango's stein massive,
Visage,
Drive Like Jehu,
Man Eating Sloth,
Sam Rivers,
Deadbeat,
MDC,
Drexciya,
The Young Rascals,
Bauhaus,
Lyres,
Chris & Cosey,
Nik Kershaw,
Andrew Ashong & Theo Parrish,
Fluxion,
R.M.O.,
Eric B and Rakim,
Eric Copeland,
Boogie Down Productions,
The Searchers,
Niagra,
Graham Central Station,
The Real Kids,
Angry Samoans,
the Sonics,
Funkadelic,
Negative Approach,
The Fall,
Ten City,
Manfred Mann's Earth Band,
Groovy Waters,
The Busters,
Pussy Galore, Pussy Galore, Pussy Galore, Pussy Galore.
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.