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 Rwanda and from Copenhagen.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Milan and Bologna.
I'm losing my edge to the art-school Hong Kong 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 snare 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 Marshall Jefferson to the grime 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 The Mummies. All the underground hits.
All Frankie Knuckles tracks. I heard you have a vinyl of every Ash Ra Tempel record on German import.
I heard that you have a white label of every seminal dance 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 a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Barrington Levy record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
Sad Lovers and Giants,
Marshall Jefferson,
World's Most,
Underground Resistance,
Marc Romboy vs. Booka Shade,
Anthony Braxton,
Magma,
Crime,
T.S.O.L.,
Can,
The Fugs,
Sun Ra Arkestra,
Deutsch Amerikanische Freundschaft,
Amazonics,
The Dave Clark Five,
Main Source,
MDC,
Spandau Ballet,
Gong,
Terror Squad Feat. Camron,
Peter & Gordon,
The Barracudas,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Cure,
Reuben Wilson,
Oppenheimer Analysis,
Barbara Tucker,
Lizzy Mercier Descloux,
Lonnie Liston Smith,
Jandek,
Sight & Sound,
Dark Day,
The Young Rascals,
Crooked Eye,
Lalo Schifrin,
Loose Ends,
the Slits,
Soul Sonic Force,
Minnie Riperton,
Gil Scott-Heron and Jamie xx,
Hoover,
Clear Light,
Mad Mike,
Rufus Thomas,
Rekid,
Drive Like Jehu,
Bobby Sherman,
Fear,
Bootsy Collins,
Young Marble Giants,
Black Flag,
Pere Ubu,
DeepChord presents Echospace,
Peter Gordon & Love of Life Orchestra,
Marine Girls,
Motorama,
Outsiders,
X-Ray Spex,
Girls At Our Best!,
Freddie Wadling,
Country Teasers, Country Teasers, Country Teasers, Country Teasers.
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.