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 Poland and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Portland and Mumbai.
I'm losing my edge to the art-school Calgary 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 arpeggiator 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 Sun Ra Arkestra to the grime kids.
I played it at CBGB's.
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 Techniques. All the underground hits.
All Lonnie Liston Smith tracks. I heard you have a vinyl of every Robert Hood record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your oboe and bought a sitar.
I hear that you and your band have sold your sitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
Fela Kuti,
Marc Almond,
Pantytec,
Jerry Gold Smith,
Nils Olav,
Model 500,
Gabor Szabo,
Ultramagnetic MC's,
Juan Atkins,
Susan Cadogan,
Aswad,
Underground Resistance,
Derrick Morgan,
Ossler,
Metal Thangz,
Chris Corsano,
Adolescents,
Janne Schatter,
Ten City,
Rakim,
Reuben Wilson,
Bill Wells,
Eric Copeland,
Big Daddy Kane,
Lee Hazlewood,
Judy Mowatt,
the Slits,
ABBA,
Das Ding,
The Names,
Grandmaster Flash,
The Wake,
Kevin Saunderson,
Avey Tare,
Soft Cell,
K-Klass,
The Residents,
Ituana,
Camberwell Now,
Gang Starr,
Sticky Fingaz feat. Raekwon,
B.T. Express,
The Motions,
Eden Ahbez,
Essential Logic,
Danielle Patucci,
Joe Smooth,
Country Teasers,
Art Ensemble Of Chicago,
Deadbeat,
Quadrant,
Electric Light Orchestra,
LL Cool J,
Supertramp,
The United States of America,
Talk Talk,
The Modern Lovers,
Gang Green,
Magma,
Clear Light,
Lou Christie,
the Normal,
The Sound,
The Selecter, The Selecter, The Selecter, The Selecter.
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.