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 South Sudan and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Madrid.
I'm losing my edge to the art-school Portland 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 Chic practice in a loft in New York.
I was working on the oboe 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 Idris Muhammad to the disco 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 Public Enemy. All the underground hits.
All Con Funk Shun tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Soulsonic Force record.
I hear that you and your band have sold your clarinet and bought a 808.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalo Schifrin,
The Moody Blues,
Spandau Ballet,
Girls At Our Best!,
R.M.O.,
MC5,
The Divine Comedy,
Blossom Toes,
Infiniti,
Alton Ellis,
Justin Hinds & The Dominoes,
Masters at Work,
Y Pants,
DeepChord presents Echospace,
Technova,
Marine Girls,
Pharaoh Sanders and the Fire Engines,
Brass Construction,
Animal Collective,
Suburban Knight,
Severed Heads,
The Velvet Underground,
Joey Negro,
Morten Harket,
Graham Central Station,
Pharoah Sanders,
Colin Newman,
Kayak,
Smog,
Wighnomy Brothers & Robag Wruhme,
Mars,
The Young Rascals,
Barrington Levy,
The Neon Judgement,
Rekid,
Grauzone,
Scientists,
Oblivians,
Siglo XX,
Audionom,
Piero Umiliani,
Eden Ahbez,
Crime,
Big Daddy Kane,
Scratch Acid,
The Tremeloes,
Radio Birdman,
The Detroit Cobras,
Suicide,
Kerrie Biddell,
Vaughan Mason & Crew,
Gian Franco Pienzio,
Judy Mowatt,
Rapeman,
Ludus,
Anakelly,
Second Layer,
Rhythm & Sound,
Selector Dub Narcotic,
The Red Krayola,
Nick Cave & The Bad Seeds,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.