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 Guinea and from Paris.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Toronto and Beijing.
I'm losing my edge to the art-school Lille 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 Tom Verlaine 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 Red Krayola to the jazz kids.
I played it at Trash.
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 Ultra Naté. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every CMW record on German import.
I heard that you have a white label of every seminal rap 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 snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Arthur Verocai,
Aswad,
Colin Newman,
Don Cherry,
Mission of Burma,
cv313,
Essential Logic,
The Fugs,
Dawn Penn,
Japan,
Max Romeo,
Urselle,
David McCallum,
Wire,
Rufus Thomas,
Sam Rivers,
Magazine,
Sex Pistols,
Kings Of Tomorrow,
Bootsy's Rubber Band,
Oppenheimer Analysis,
Barry Ungar,
Stetsasonic,
Roxette,
Josef K,
CMW,
The J.B.'s,
T.S.O.L.,
Harpers Bizarre,
Marc Romboy vs. Booka Shade,
Bobby Womack,
Half Japanese,
Ultramagnetic MC's,
Lyres,
Man Eating Sloth,
Lou Reed,
Selector Dub Narcotic,
Isaac Hayes,
Ornette Coleman,
Cecil Taylor,
F. McDonald,
Camouflage,
Bronski Beat,
Liliput,
DJ Style,
Outsiders,
Boz Scaggs,
the Human League,
48th St. Collective,
Scratch Acid,
Idris Muhammad,
Crispy Ambulance,
The Neon Judgement,
The Names,
kango's stein massive,
Skriet,
Albert Ayler,
The Human League,
Minor Threat,
Thompson Twins,
Porter Ricks,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.