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 Philippines and from Hong Kong.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Salvador and Stockholm.
I'm losing my edge to the art-school Jakarta 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 marimba sounds with much patience.
I was there when Donald Fagen 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 Rakim to the grime 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 Freddie Wadling. All the underground hits.
All The Move tracks. I heard you have a vinyl of every Bang on a Can All-Stars record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Aaron Thompson,
Thompson Twins,
Ponytail,
Rod Modell,
Aural Exciters,
The Blues Magoos,
Swell Maps,
Blossom Toes,
Simply Red,
The Cosmic Jokers,
Angry Samoans,
The Divine Comedy,
Faust,
Eric Dolphy,
Altered Images,
Boogie Down Productions,
Mo-Dettes,
Trumans Water,
Massinfluence,
Freddie Wadling,
Essential Logic,
Alphaville,
Avey Tare & Kría Brekkan,
Brass Construction,
Mad Mike,
Hardrive,
Radiohead,
Pete Rock & C.L. Smooth,
The Monks,
Lebanon Hanover,
The Techniques,
World's Most,
Moby Grape,
Judy Mowatt,
Throbbing Gristle,
Average White Band,
Sun Ra Arkestra,
Bootsy Collins,
Matthew Halsall,
T. Rex,
Drive Like Jehu,
Jacob Miller,
JFA,
The Electric Prunes,
Hasil Adkins,
Cabaret Voltaire,
Accadde A,
The Music Machine,
Bob Dylan,
Ajijia Myrayebe,
Warsaw,
Malaria!,
Deepchord,
Black Bananas,
Arthur Verocai,
Kool Moe Dee,
Red Lorry Yellow Lorry,
Don Cherry,
The Moody Blues,
Negative Approach,
The Beau Brummels, The Beau Brummels, The Beau Brummels, The Beau Brummels.
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.