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 Peru and from Bologna.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Madrid and Paris.
I'm losing my edge to the art-school Tokyo 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the oboe sounds with much patience.
I was there when Tom Verlaine 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 Archie Shepp to the jazz kids.
I played it at the Hacienda.
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 Joyce Sims. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every Arthur Verocai record on German import.
I heard that you have a white label of every seminal punk 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 spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Lonnie Liston Smith record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Con Funk Shun,
Kevin Saunderson,
Supertramp,
Bill Near,
Graham Central Station,
Jacques Brel,
Ornette Coleman,
The Chocolate Watch Band,
The Smoke,
Royal Trux,
New Age Steppers,
Model 500,
The Cowsills,
D'Angelo,
Flash Fearless,
Massinfluence,
Interpol,
Fat Boys,
The Smiths,
Minutemen,
Justin Hinds & The Dominoes,
the Bar-Kays,
Neil Young & Crazy Horse,
Spoonie Gee,
Roy Ayers,
The New Christs,
Archie Shepp,
Tom Boy,
Moss Icon,
In Retrospect,
Fad Gadget,
Aural Exciters,
Lungfish,
The Names,
Lee Hazlewood,
Skriet,
Susan Cadogan,
T.S.O.L.,
Blossom Toes,
Simply Red,
Fluxion,
Drive Like Jehu,
Kango’s Stein Massive,
Minny Pops,
The Tremeloes,
Minor Threat,
Marshall Jefferson,
De La Soul & Jungle Brothers,
Lou Christie,
Organ,
Wire,
Arcadia,
Los Fastidios,
Siglo XX,
Second Layer,
Thee Headcoats,
Be Bop Deluxe,
Prince Buster,
Marc Almond,
Grandmaster Flash and the Furious Five,
MDC,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.