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 Dominican Republic and from Halifax.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Houston and Portland.
I'm losing my edge to the art-school Seoul 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Art Ensemble Of Chicago to the grime kids.
I played it at Cafe Wha.
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 Glambeats Corp.. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every The Chocolate Watch Band 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 '60s cut and another box set from the '80s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Eric Dolphy record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
Ken Boothe,
X-101,
Graham Central Station,
F. McDonald,
Electric Light Orchestra,
The Birthday Party,
Frankie Knuckles,
Lee Hazlewood,
Flash Fearless,
Section 25,
Crime,
Shuggie Otis,
Sonic Youth,
Pagans,
La Düsseldorf,
Freddie Wadling,
The Count Five,
Banda Bassotti,
Avey Tare,
Camron Feat. Memphis Bleek And Beenie Seigel,
Junior Murvin,
Letta Mbulu,
Bauhaus,
Angry Samoans,
Roxette,
Gang Gang Dance,
The Dirtbombs,
Kauko Röyhkä ja Narttu,
Crispy Ambulance,
Japan,
The Black Dice,
Funky Four + One,
Newcleus,
Scan 7,
Juan Atkins,
Liaisons Dangereuses,
The Techniques,
Moss Icon,
Donny Hathaway,
Country Teasers,
Oblivians,
Index,
John Coltrane,
Rod Modell,
FM Einheit,
The Selecter,
Lungfish,
Little Man,
10cc,
The United States of America,
Lalann,
DeepChord presents Echospace,
Manfred Mann's Earth Band,
Jerry's Kids,
Stetsasonic,
Tres Demented,
Grandmaster Flash,
The Divine Comedy,
Kerrie Biddell,
Von Mondo, Von Mondo, Von Mondo, Von Mondo.
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.