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 Palau and from Mexico City.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Halifax and Lagos.
I'm losing my edge to the art-school Shanghai 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 1973 at the first Television practice in a loft in New York.
I was working on the sitar 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 techno kids.
I played it at the Crocodile.
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 Leonard Cohen. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every Eric Dolphy 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 '80s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a David McCallum record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
OOIOO,
Lou Reed & Metallica,
Spandau Ballet,
Roy Ayers,
Roxette,
Supertramp,
Underground Resistance,
James White and The Blacks,
Johnny Osbourne,
The Selecter,
John Coltrane,
Nation of Ulysses,
The Music Machine,
The Cramps,
Masters at Work,
Zero Boys,
Bobby Sherman,
The Count Five,
Gastr Del Sol,
Laurel Aitken,
Roger Hodgson,
New Age Steppers,
MDC,
Mandrill,
Susan Cadogan,
Joey Negro,
Heavy D & The Boyz,
Wire,
Sandy B,
Beasts of Bourbon,
The Monks,
Max Romeo,
The Human League,
Bad Manners,
Audionom,
Art Ensemble Of Chicago,
The Fuzztones,
Skaos,
De La Soul & Jungle Brothers,
The Men They Couldn't Hang,
The Vogues,
Funkadelic,
DNA,
Terror Squad Feat. Camron,
Charles Mingus,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Zapp,
Robert Hood,
Porter Ricks,
Alison Limerick,
Idris Muhammad,
U.S. Maple,
Althea and Donna,
Sun City Girls,
Louis and Bebe Barron,
Pantaleimon,
Harry Pussy,
Darondo,
Amazonics,
Larry & the Blue Notes,
Graham Central Station,
Eric B and Rakim, Eric B and Rakim, Eric B and Rakim, Eric B and Rakim.
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.