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 Colombia and from Beijing.
But I was there.
I was there in .
I was there at the first Suicide 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 1964 to 1973.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school Shanghai 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 chamberlin 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 Rapeman to the crunk kids.
I played it at CBGB's.
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 Sexual Harrassment. All the underground hits.
All Camron Feat. Memphis Bleek And Beenie Seigel tracks. I heard you have a vinyl of every Warren Ellis record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your oboe and bought a 808.
I hear that you and your band have sold your 808 and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Trojans,
Bobby Sherman,
Rod Modell,
Blancmange,
The Walker Brothers,
Infiniti,
Sonny Sharrock,
Radio Birdman,
The Motions,
The Real Kids,
Jacques Brel,
Ohio Players,
48th St. Collective,
Jerry's Kids,
Marshall Jefferson,
Main Source,
KRS-One,
Echospace,
The Detroit Cobras,
The Wake,
Monolake,
FM Einheit,
Radiopuhelimet,
Monks,
Black Bananas,
Dark Day,
Jacob Miller,
Severed Heads,
Lou Reed & Metallica,
Echo & the Bunnymen,
Vaughan Mason & Crew,
Marvin Gaye,
Masters at Work,
David Axelrod,
Crispian St. Peters,
The Seeds,
Amazonics,
the Slits,
Scratch Acid,
The American Breed,
Sixth Finger,
The Barracudas,
Icehouse,
Jimmy McGriff,
Flamin' Groovies,
The Monks,
Television,
Public Image Ltd.,
The Mojo Men,
Kaleidoscope,
Electric Light Orchestra,
the Swans,
Yusef Lateef,
Maurizio,
Camberwell Now,
Minnie Riperton,
Deadbeat,
The Alarm Clocks,
The Music Machine,
Gil Scott-Heron and Jamie xx,
Swans, Swans, Swans, Swans.
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.