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 Iraq and from Taipei.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Woodstock.
I'm losing my edge to the art-school Tehran 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 clarinet 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 Glambeats Corp. to the funk kids.
I played it at the Spitz.
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 The Tremeloes. All the underground hits.
All Jimmy McGriff tracks. I heard you have a vinyl of every The Seeds record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
The Monochrome Set,
The Jesus and Mary Chain,
Barry Ungar,
Minnie Riperton,
Sonny Sharrock,
Gil Scott Heron,
Kool G Rap & DJ Polo,
Wire,
Connie Case,
Super Lover Cee & Casanova Rud,
Porter Ricks,
The Gap Band,
Roxette,
Urselle,
Symarip,
Liliput,
Heavy D & The Boyz,
Warsaw,
Janne Schatter,
FM Einheit,
Art Ensemble Of Chicago,
Robert Hood,
Judy Mowatt,
Bobby Byrd,
Throbbing Gristle,
Skaos,
Basic Channel,
Funkadelic,
Louis and Bebe Barron,
Agent Orange,
Beasts of Bourbon,
Soul Sonic Force,
Lyres,
Deutsch Amerikanische Freundschaft,
The Doobie Brothers,
Glambeats Corp.,
Q and Not U,
Pharaoh Sanders and the Fire Engines,
DJ Style,
Matthew Bourne,
Essential Logic,
Chrome,
Absolute Body Control,
H. Thieme,
Black Bananas,
The Durutti Column,
Television Personalities,
Wings,
Charles Mingus,
Avey Tare,
De La Soul & Jungle Brothers,
Niagra,
Main Source,
The Stooges,
Drive Like Jehu,
LL Cool J,
The Red Krayola,
Red Lorry Yellow Lorry,
Swans,
Gang of Four,
N.O.R.E. Featuring Pharrell,
Quadrant, Quadrant, Quadrant, Quadrant.
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.