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 Mongolia and from Lagos.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1963 to 1973.
I'm losing my edge.
To all the kids in New York and Cairo.
I'm losing my edge to the art-school Johannesburg 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Terror Squad Feat. Camron to the disco 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 Deadbeat. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Nas record on German import.
I heard that you have a white label of every seminal crunk 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 guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scion,
Todd Terry,
Bill Wells,
Siouxsie and the Banshees,
Cabaret Voltaire,
Rakim,
Pagans,
Boredoms,
Thee Headcoats,
Radio Birdman,
Inner City,
The Moody Blues,
Oneida,
Kayak,
DNA,
Moss Icon,
Minny Pops,
Kenny Larkin,
Heaven 17,
Vainqueur,
The Count Five,
Moebius,
Peter Gordon & Love of Life Orchestra,
Connie Case,
Oblivians,
Ten City,
The Dirtbombs,
Whodini,
Pet Shop Boys,
The West Coast Pop Art Experimental Band,
K-Klass,
Pylon,
Derrick Morgan,
Angry Samoans,
Albert Ayler,
Godley & Creme,
Subhumans,
Gerry Rafferty,
Pulsallama,
Bobby Hutcherson,
Oppenheimer Analysis,
Deadbeat,
Zero Boys,
Grandmaster Flash,
Simply Red,
Lower 48,
Smog,
Prince Buster,
Man Eating Sloth,
Rod Modell,
Sister Nancy,
The Motions,
Idris Muhammad,
The Mummies,
Rhythm & Sound,
Jacques Brel,
The Jesus and Mary Chain,
Lou Reed & John Cale,
Wolf Eyes,
Crispy Ambulance, Crispy Ambulance, Crispy Ambulance, Crispy Ambulance.
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.