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 Bangladesh and from Mumbai.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1975.
I'm losing my edge.
To all the kids in Lille and Tehran.
I'm losing my edge to the art-school Philadelphia 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 Reuben Wilson to the rock 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 Juan Atkins. All the underground hits.
All Ralphi Rosario tracks. I heard you have a vinyl of every Thinking Fellers Union Local 282 record on German import.
I heard that you have a white label of every seminal funk 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 güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Barbara Tucker record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Echospace,
The Modern Lovers,
Hot Snakes,
James White and The Blacks,
Eden Ahbez,
Absolute Body Control,
Lou Reed & Metallica,
Amon Düül,
Teenage Jesus and the Jerks,
Arthur Verocai,
Ronnie Foster,
The Velvet Underground,
Suicide,
Oppenheimer Analysis,
Lindisfarne,
Angels of Light & Akron/Family,
Maurizio,
Man Eating Sloth,
Scion,
Oblivians,
DNA,
Bronski Beat,
Howard Jones,
U.S. Maple,
Desert Stars,
Roy Ayers Ubiquity,
Brand Nubian,
Scratch Acid,
Motorama,
Warsaw,
Pet Shop Boys,
Drexciya,
Larry & the Blue Notes,
Derrick Morgan,
Patti Smith,
The Fire Engines,
London Community Gospel Choir,
Cameo,
L. Decosne,
The American Breed,
Erasure,
The Leaves,
Flash Fearless,
Whodini,
Jandek,
Can,
Massinfluence,
Electric Prunes,
Warren Ellis,
Gil Scott-Heron and Jamie xx,
Reagan Youth,
Fifty Foot Hose,
Lee Hazlewood,
The Cure,
Eric Dolphy,
Reuben Wilson,
Q65,
Rites of Spring,
Trumans Water,
Camberwell Now,
Agitation Free,
Banda Bassotti,
Sad Lovers and Giants,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.