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 Seychelles and from Halifax.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1977.
I'm losing my edge.
To all the kids in Winnipeg and Lagos.
I'm losing my edge to the art-school Bremen 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 organ 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 The Mighty Diamonds to the jazz kids.
I played it at the Roxy.
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 Alison Limerick. All the underground hits.
All The Five Americans tracks. I heard you have a vinyl of every Dark Day record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
The Neon Judgement,
Pagans,
Scott Walker,
Gerry Rafferty,
The Techniques,
Barrington Levy,
Pierre Henry,
De La Soul & Jungle Brothers,
The Real Kids,
Tom Boy,
Con Funk Shun,
Girls At Our Best!,
The Red Krayola,
Jeff Mills,
Al Stewart,
Cybotron,
Bob Dylan,
Notorious Big And Bone Thugs,
cv313,
The Black Dice,
Bang on a Can All-Stars,
Flash Fearless,
Duran Duran,
Bill Wells,
Kaleidoscope,
Tomorrow,
The Names,
Johnny Clarke,
Warsaw,
Crime,
Pulsallama,
Bluetip,
Quantec,
Buzzcocks,
Rites of Spring,
Dorothy Ashby,
Make Up,
Spandau Ballet,
the Germs,
Lizzy Mercier Descloux,
kango's stein massive,
John Coltrane,
Deutsch Amerikanische Freundschaft,
Scion,
Ossler,
Ash Ra Tempel,
Gang Gang Dance,
Danielle Patucci,
Donny Hathaway,
Interpol,
Brass Construction,
Reuben Wilson,
Robert Wyatt,
H. Thieme,
Jacob Miller,
Neil Young,
Howard Jones,
Alice Coltrane,
Loose Ends,
Yaz,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.