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 Swaziland and from Milan.
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 1971.
I'm losing my edge.
To all the kids in Lille and Seoul.
I'm losing my edge to the art-school Sao Paulo 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the guitar sounds with much patience.
I was there when Donald Fagen 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 Glambeats Corp. to the rap 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 Yaz. All the underground hits.
All Nils Olav tracks. I heard you have a vinyl of every The Mojo Men 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 '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Hoover 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?
Metal Thangz,
Ralphi Rosario,
Jeff Lynne,
Schoolly D,
Gil Scott-Heron & Brian Jackson,
Bobby Womack,
The Doors,
Siouxsie and the Banshees,
Drive Like Jehu,
The Sonics,
Pylon,
the Association,
Panda Bear,
Röyhkä ja Rättö ja Lehtisalo,
Khruangbin,
Tim Buckley,
the Human League,
Sound Behaviour,
Frankie Knuckles,
Television Personalities,
Larry & the Blue Notes,
R.M.O.,
Interpol,
Lebanon Hanover,
The Standells,
Malaria!,
Tom Boy,
Junior Murvin,
Ash Ra Tempel,
Bobby Byrd,
Kas Product,
Jimmy McGriff,
John Lydon,
Black Bananas,
Half Japanese,
PIL,
Dorothy Ashby,
The Last Poets,
Rekid,
Alton Ellis,
Selector Dub Narcotic,
Robert Görl,
The Sisters of Mercy,
Alison Limerick,
Sarah Menescal,
Flamin' Groovies,
The Mummies,
Livin' Joy,
Mantronix,
Amon Düül II,
EPMD,
The Invisible,
Patti Smith,
Con Funk Shun,
Theoretical Girls,
Excepter,
Silicon Teens,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Andrew Ashong & Theo Parrish,
Stetsasonic,
a-ha, a-ha, a-ha, a-ha.
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.