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 Sweden and from Houston.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Seoul and Houston.
I'm losing my edge to the art-school New York 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 Holger Czukay 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 Pharaoh Sanders and the Fire Engines to the funk 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 Althea and Donna. All the underground hits.
All Technova tracks. I heard you have a vinyl of every Make Up record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Judy Mowatt record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barry Ungar,
Aaron Thompson,
The Cure,
Scion,
Blossom Toes,
Lou Reed & Metallica,
Simply Red,
Sam Rivers,
Pete Rock & C.L. Smooth,
The Kinks,
The Monks,
Blake Baxter,
Jacques Brel,
Kevin Saunderson,
Zero Boys,
Pere Ubu,
Electric Light Orchestra,
Glenn Branca,
JFA,
UT,
ABC,
David Axelrod,
Howard Jones,
Niagra,
The Moleskins,
Tropical Tobacco,
Kayak,
Drive Like Jehu,
Pharaoh Sanders and the Fire Engines,
Michelle Simonal,
Lucky Dragons,
Graham Central Station,
Manfred Mann's Earth Band,
Agitation Free,
The Five Americans,
Newcleus,
Yaz,
The Trojans,
Cheater Slicks,
Buzzcocks,
The Leaves,
The Dead C,
Saccharine Trust,
T.S.O.L.,
The Evens,
Massinfluence,
The Men They Couldn't Hang,
Max Romeo,
Marshall Jefferson,
Sly & The Family Stone,
Pussy Galore,
DNA,
Reagan Youth,
The Index,
Pole,
Essential Logic,
Aswad,
Trumans Water,
Mission of Burma,
Slick Rick, Slick Rick, Slick Rick, Slick Rick.
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.