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 Austria and from Delhi.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Houston and Seoul.
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 1973 at the first Television practice in a loft in New York.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Bush Tetras to the grunge kids.
I played it at the Spitz.
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 The Shadows of Knight. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Eric Copeland record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Carl Craig,
Metal Thangz,
June of 44,
the Association,
Jawbox,
Moby Grape,
Essential Logic,
Rapeman,
Anakelly,
OOIOO,
Ultimate Spinach,
Stiv Bators,
the Soft Cell,
Ultravox,
Parry Music,
Al Stewart,
Davy DMX,
New York Dolls,
De La Soul & Jungle Brothers,
Ornette Coleman,
X-Ray Spex,
Marcia Griffiths,
Cybotron,
Frankie Knuckles,
Main Source,
Jerry's Kids,
the Sonics,
Skriet,
James Chance & The Contortions,
The Monks,
Matthew Bourne,
Fela Kuti,
Cal Tjader,
The Doors,
Whodini,
Peter and Kerry,
Big Daddy Kane,
Darondo,
MDC,
Kango’s Stein Massive,
Isaac Hayes,
Mantronix,
Maleditus Sound,
Kaleidoscope,
The Fugs,
Ronnie Foster,
Lou Reed & Metallica,
Yusef Lateef,
Robert Hood,
Bobby Byrd,
Minnie Riperton,
Pylon,
Jimmy McGriff,
The Music Machine,
The Cramps,
Cecil Taylor,
Manfred Mann's Earth Band,
Laurel Aitken,
Subhumans,
David McCallum, David McCallum, David McCallum, David McCallum.
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.