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 Burundi and from Lyon.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Shanghai and New York.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the arpeggiator 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 Bootsy Collins to the funk kids.
I played it at the 40 Watt.
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 Rufus Thomas. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Beasts of Bourbon record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
Ultra Naté,
Bobbi Humphrey,
Carl Craig,
Richard Hell and the Voidoids,
Girls At Our Best!,
Bush Tetras,
Sandy B,
Echo & the Bunnymen,
Deepchord,
Oneida,
The Motions,
The Young Rascals,
DJ Style,
Sixth Finger,
Interpol,
Louis and Bebe Barron,
Danielle Patucci,
Stiv Bators,
Gil Scott Heron,
Letta Mbulu,
Drexciya,
Ultravox,
The Star Department,
Minny Pops,
China Crisis,
The Mummies,
Symarip,
Maleditus Sound,
Thinking Fellers Union Local 282,
Reuben Wilson,
Masters at Work,
Gang Starr,
Simply Red,
Gil Scott-Heron and Jamie xx,
Frankie Knuckles,
The Fall,
Average White Band,
Scrapy,
Mo-Dettes,
Cymande,
the Association,
B.T. Express,
Tommy Roe,
Avey Tare,
Bang On A Can,
Camberwell Now,
The Standells,
Oblivians,
Peter and Kerry,
The Modern Lovers,
The Searchers,
Sun Ra,
Nas,
Johnny Osbourne,
Nick Fraelich,
Electric Prunes,
Popol Vuh,
The Invisible,
Technova,
the Slits,
Boredoms,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.