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 Mali and from Bremen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Lille and Winnipeg.
I'm losing my edge to the art-school Lagos 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 808 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 Jawbox to the rock kids.
I played it at the Astoria.
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 David Axelrod. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every John Lydon record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Harry Pussy record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
Derrick Morgan,
Todd Terry,
Gil Scott Heron,
The Searchers,
AZ,
Blake Baxter,
The Evens,
Silicon Teens,
John Coltrane,
Isaac Hayes,
Jandek,
Oppenheimer Analysis,
Neil Young & Crazy Horse,
The Fugs,
Matthew Bourne,
Nik Kershaw,
The Names,
Deepchord,
Brick,
Hashim,
Zero Boys,
Darondo,
Hardrive,
Tim Buckley,
The Electric Prunes,
Sarah Menescal,
The Mighty Diamonds,
Mary Jane Girls,
Richard Hell and the Voidoids,
Freddie Wadling,
Tomorrow,
Agent Orange,
Pierre Henry,
Tom Boy,
Japan,
Model 500,
Maurizio,
ABBA,
Animal Collective,
Laurel Aitken,
A Flock of Seagulls,
Althea and Donna,
Adolescents,
L. Decosne,
Ken Boothe,
Rahsaan Roland Kirk,
kango's stein massive,
Leonard Cohen,
Carl Craig,
Radiohead,
Stiv Bators,
The Wake,
D'Angelo,
Ice-T,
Jerry's Kids,
Big Daddy Kane,
The Pretty Things,
The Smiths,
Johnny Osbourne,
James Chance & The Contortions,
Monolake,
DJ Sneak,
De La Soul & Jungle Brothers, De La Soul & Jungle Brothers, De La Soul & Jungle Brothers, De La Soul & Jungle Brothers.
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.