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 Tonga and from Seoul.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Houston and Beijing.
I'm losing my edge to the art-school Tehran 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the snare 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 48th St. Collective to the jazz 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 China Crisis. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every Sun Ra record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
The Litter,
Organ,
Blancmange,
Kas Product,
Gil Scott Heron,
UT,
Infiniti,
Smog,
One Last Wish,
Jacob Miller,
Nirvana,
Sunsets and Hearts,
Royal Trux,
X-101,
This Heat,
Al Stewart,
The Mummies,
The Trojans,
Isaac Hayes,
Mark Hollis,
The Names,
Moebius,
Pet Shop Boys,
Lyres,
Dark Day,
Dennis Brown,
Nils Olav,
Jeff Lynne,
Boredoms,
10cc,
H. Thieme,
Skriet,
The Residents,
Unwound,
Pierre Henry,
Pussy Galore,
The Blackbyrds,
The Leaves,
Excepter,
Groovy Waters,
Rhythm & Sound,
Nas,
Rowland S Howard / Lydia Lunch,
Circle Jerks,
The Evens,
Avey Tare,
Blake Baxter,
Lungfish,
Masters at Work,
La Düsseldorf,
Kevin Saunderson,
Ash Ra Tempel,
the Swans,
Cal Tjader,
Funky Four + One,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Cowsills,
Black Bananas,
Röyhkä ja Rättö ja Lehtisalo,
Soft Cell,
Wasted Youth,
Avey Tare & Kría Brekkan,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.