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 Bulgaria and from New York.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Lagos and Cairo.
I'm losing my edge to the art-school Bologna 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 Lou Reed 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 Searchers to the crunk kids.
I played it at the Crocodile.
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 48th St. Collective. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal dance 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 güiro and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Larry & the Blue Notes,
the Association,
Black Pus,
KRS-One,
Circle Jerks,
ABBA,
Avey Tare's Slasher Flicks,
X-101,
Barrington Levy,
EPMD,
Big Daddy Kane,
David Axelrod,
Whodini,
Bobby Womack,
Kaleidoscope,
Matthew Bourne,
Quando Quango,
The Flesh Eaters,
The Invisible,
Ultravox,
Wire,
The Saints,
Gil Scott-Heron and Jamie xx,
Echo & the Bunnymen,
Suicide,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Silicon Teens,
Gabor Szabo,
Minnie Riperton,
Mark Hollis,
Lafayette Afro Rock Band,
Morten Harket,
Malaria!,
Warsaw,
Bill Wells,
Selector Dub Narcotic,
Main Source,
Accadde A,
Peter and Kerry,
Donald Byrd,
Gang Starr,
Deutsch Amerikanische Freundschaft,
The Barracudas,
Bill Near,
Archie Shepp,
Lou Reed,
Public Image Ltd.,
The Velvet Underground,
Lee Hazlewood,
Young Marble Giants,
The Martian,
Arthur Verocai,
Aswad,
Angry Samoans,
The Associates,
Letta Mbulu,
Khruangbin,
Blake Baxter,
Electric Light Orchestra,
Anthony Braxton,
Man Parrish,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.