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 Lithuania and from Paris.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Toronto.
I'm losing my edge to the art-school Hong Kong 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 Captain Beefheart 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 John Holt to the grime kids.
I played it at the Troubador.
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 Johnny Clarke. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every Jacques Brel 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 '70s cut and another box set from the '70s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Q65 record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Peter and Kerry,
D'Angelo,
Sister Nancy,
Mission of Burma,
Bootsy Collins,
Terrestrial Tones,
The Royal Family And The Poor,
The Real Kids,
Model 500,
Radiohead,
Heavy D & The Boyz,
Cluster,
The Knickerbockers,
Tommy Roe,
Nils Olav,
The United States of America,
LL Cool J,
X-101,
Dennis Brown,
Camron Feat. Jay Z And Juelz,
Fluxion,
Boredoms,
the Normal,
Soul II Soul,
Saccharine Trust,
Ultramagnetic MC's,
Robert Görl,
The Misunderstood,
The Selecter,
Crooked Eye,
Hot Snakes,
FM Einheit,
Dual Sessions,
Graham Central Station,
The Doors,
David McCallum,
Audionom,
Tim Buckley,
the Sonics,
The Dirtbombs,
Lizzy Mercier Descloux,
Don Cherry,
One Last Wish,
Sly & The Family Stone,
ABBA,
Ultravox,
Shoche,
Camron Feat. Memphis Bleek And Beenie Seigel,
Cymande,
Charles Mingus,
Thee Headcoats,
Notorious Big And Bone Thugs,
Jawbox,
Camberwell Now,
Fela Kuti,
Barrington Levy,
Minnie Riperton,
Flamin' Groovies,
F. McDonald,
U.S. Maple,
The Last Poets,
Angry Samoans,
Easy Going, Easy Going, Easy Going, Easy Going.
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.