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 Mongolia and from Shanghai.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Hong Kong.
I'm losing my edge to the art-school Mexico City 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 808 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 Radiopuhelimet to the disco kids.
I played it at the Roxy.
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 Minny Pops. All the underground hits.
All the Fania All-Stars tracks. I heard you have a vinyl of every The Doobie Brothers 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
Max Romeo,
Crooked Eye,
Little Man,
Vainqueur,
Technova,
Crispian St. Peters,
Pantaleimon,
The Move,
The Cramps,
The Dead C,
Gastr Del Sol,
Rekid,
Suicide,
Jimmy McGriff,
Dennis Brown,
The Wake,
Spandau Ballet,
Grauzone,
Icehouse,
Bobby Sherman,
Althea and Donna,
Stiv Bators,
Lalann,
The Sonics,
Ultravox,
Strawberry Alarm Clock,
Captain Beefheart & His Magic Band,
Warsaw,
A Flock of Seagulls,
Lyres,
Derrick Morgan,
the Association,
Laurel Aitken,
Main Source,
Sarah Menescal,
Joyce Sims,
Harmonia,
The Associates,
Bronski Beat,
The Chocolate Watch Band,
Jerry Gold Smith,
Aswad,
Eli Mardock,
The Pop Group,
The Searchers,
Minor Threat,
Tropical Tobacco,
June Days,
Visionaries,LMNO, T- Love & Iriscience,
Thinking Fellers Union Local 282,
The Music Machine,
The Dirtbombs,
Rakim,
Desert Stars,
KRS-One,
The Gun Club,
Albert Ayler,
Nation of Ulysses,
The Fortunes,
The Jesus and Mary Chain,
Lou Christie,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.