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 Seychelles and from Salvador.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1976.
I'm losing my edge.
To all the kids in Cairo and Glasgow.
I'm losing my edge to the art-school Philadelphia 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Sixth Finger to the crunk kids.
I played it at Cafe Wha.
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 Kerri Chandler. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every Jerry Gold Smith record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Yellowson record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sällskapet,
Buzzcocks,
UT,
The Peanut Butter Conspiracy,
Porter Ricks,
Fifty Foot Hose,
Fear,
Q and Not U,
Groovy Waters,
Spandau Ballet,
Cameo,
Ludus,
the Bar-Kays,
The Sisters of Mercy,
The Searchers,
Radiohead,
Arthur Verocai,
The Victims,
Minnie Riperton,
Marc Romboy vs. Booka Shade,
Art Ensemble Of Chicago,
The Mojo Men,
Popol Vuh,
Shoche,
Scott Walker,
Roy Ayers,
Technova,
Guru Guru,
Tom Boy,
Anthony Braxton,
Second Layer,
Gil Scott Heron,
Sun Ra,
Kaleidoscope,
Cybotron,
Gerry Rafferty,
Lakeside,
Moss Icon,
Man Eating Sloth,
Eric B and Rakim,
James White and The Blacks,
Graham Central Station,
Excepter,
Terry Callier,
The Sound,
Josef K,
These Immortal Souls,
The Doors,
Yellowson,
Big Daddy Kane,
Soul II Soul,
48th St. Collective,
Erasure,
Marshall Jefferson,
Black Moon,
Deadbeat,
Reuben Wilson,
Swans,
The West Coast Pop Art Experimental Band,
Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk.
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.