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 Belgium and from Toronto.
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 1971.
I'm losing my edge.
To all the kids in Madrid and Halifax.
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 Chic practice in a loft in New York.
I was working on the chamberlin 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 Gil Scott-Heron & Brian Jackson 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 Traffic Nightmare. All the underground hits.
All The Wake tracks. I heard you have a vinyl of every Man Eating Sloth record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fugazi,
Sarah Menescal,
Sparks,
The Blackbyrds,
Flash Fearless,
H. Thieme,
John Cale,
Joe Smooth,
Nik Kershaw,
The Gladiators,
Amon Düül II,
the Sonics,
The Techniques,
Schoolly D,
The Fuzztones,
Harmonia,
Fort Wilson Riot,
Kas Product,
DJ Sneak,
Colin Newman,
Camron Feat. Jay Z And Juelz,
Loose Ends,
Blossom Toes,
Ultimate Spinach,
Matthew Bourne,
Q and Not U,
Intrusion,
Moss Icon,
Duran Duran,
Nico,
Sexual Harrassment,
Harry Pussy,
Kevin Saunderson,
Excepter,
The Chocolate Watch Band,
Notorious BIG live in Amsterdam,
Young Marble Giants,
Pagans,
Black Flag,
The Blues Magoos,
Mars,
New Age Steppers,
Bluetip,
The Buckinghams,
The Walker Brothers,
Neu!,
Bad Manners,
Fluxion,
Das Ding,
Röyhkä ja Rättö ja Lehtisalo,
Swans,
The West Coast Pop Art Experimental Band,
Davy DMX,
Tropical Tobacco,
Lucky Dragons,
Eric B and Rakim,
Surgeon,
The Last Poets,
Fifty Foot Hose,
Technova,
Iggy Pop,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.