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 Trinidad & Tobago and from Johannesburg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Hong Kong and Shanghai.
I'm losing my edge to the art-school Halifax 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Soft Machine to the grunge kids.
I played it at the Astoria.
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 Cowsills. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every Gregory Isaacs 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 theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thee Headcoats,
The Names,
Pantytec,
Y Pants,
Chris & Cosey,
the Slits,
Rakim,
Skaos,
Gil Scott Heron,
Scratch Acid,
Smog,
Outsiders,
Kauko Röyhkä ja Narttu,
Shoche,
Captain Beefheart & His Magic Band,
Supertramp,
The Grass Roots,
Black Flag,
The Leaves,
Gang Green,
Unrelated Segments,
Junior Murvin,
Susan Cadogan,
The Dave Clark Five,
Al Stewart,
China Crisis,
The Move,
The Doobie Brothers,
Anakelly,
The Gladiators,
Tears for Fears,
The Selecter,
Fat Boys,
John Cale,
Quantec,
Japan,
James Chance & The Contortions,
Donald Byrd,
Barry Ungar,
The Tremeloes,
Jacques Brel,
Trumans Water,
Nas,
Spandau Ballet,
Roy Ayers,
One Last Wish,
Lakeside,
Mark Hollis,
The New Christs,
Dorothy Ashby,
Kool G Rap & DJ Polo,
Metal Thangz,
Todd Terry,
Jacob Miller,
Tres Demented,
CMW,
Talk Talk,
The Fall,
Black Moon,
Isaac Hayes,
John Lydon,
Surgeon,
MC5, MC5, MC5, MC5.
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.