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 Honduras and from Johannesburg.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Houston and Portland.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Eric B and Rakim to the rap 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 Cameo. All the underground hits.
All Fugazi tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Technova record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
Suburban Knight,
Ludus,
Fifty Foot Hose,
Audionom,
Robert Wyatt,
The Chocolate Watch Band,
John Foxx,
Con Funk Shun,
The Red Krayola,
Sly & The Family Stone,
Al Stewart,
Bill Near,
Lalo Schifrin,
Bad Manners,
The Searchers,
Slave,
U.S. Maple,
Soul Sonic Force,
Jimmy McGriff,
Model 500,
Ossler,
Lightning Bolt,
The Shadows of Knight,
Charles Mingus,
Maurizio,
Joensuu 1685,
Pussy Galore,
Ituana,
D'Angelo,
The Grass Roots,
Nation of Ulysses,
Adolescents,
Harry Pussy,
Popol Vuh,
Sex Pistols,
MDC,
Bob Dylan,
Rotary Connection,
The American Breed,
Bobby Sherman,
Motorama,
Trumans Water,
Essential Logic,
The Toasters,
Y Pants,
Intrusion,
FM Einheit,
The Durutti Column,
Lizzy Mercier Descloux,
The Raincoats,
Orchestral Manoeuvres in the Dark,
Erykah Badu,
Bill Wells,
Rakim,
Boogie Down Productions,
Severed Heads,
Das Ding,
Rhythm & Sound,
Swans,
Soulsonic Force,
Derrick May,
8 Eyed Spy, 8 Eyed Spy, 8 Eyed Spy, 8 Eyed Spy.
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.