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 New Zealand and from Hong Kong.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Winnipeg and Salvador.
I'm losing my edge to the art-school Lille 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 808 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 Alice Coltrane to the disco kids.
I played it at the Hacienda.
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 Slackers. All the underground hits.
All Notorious Big And Bone Thugs tracks. I heard you have a vinyl of every Graham Central Station 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Pussy Galore record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
The Names,
Pere Ubu,
The American Breed,
Lizzy Mercier Descloux,
Moby Grape,
KRS-One,
Sugar Minott,
Adolescents,
Whodini,
Byron Stingily,
Donny Hathaway,
Archie Shepp,
Rufus Thomas,
John Cale,
Gil Scott Heron,
Bush Tetras,
Joe Finger,
Can,
The Selecter,
Anakelly,
Youth Brigade,
Pantytec,
Los Fastidios,
Pete Rock & C.L. Smooth,
Scott Walker + Sunn O))),
Sparks,
Leonard Cohen,
Bootsy Collins,
Black Flag,
Lower 48,
48th St. Collective,
Lebanon Hanover,
Scan 7,
Groovy Waters,
D'Angelo,
Motorama,
Tears for Fears,
ABC,
Black Sheep,
Shoche,
Fifty Foot Hose,
Banda Bassotti,
Vainqueur,
Peter & Gordon,
Barrington Levy,
James Chance & The Contortions,
Lee Hazlewood,
Janne Schatter,
Bobbi Humphrey,
Cabaret Voltaire,
Kings Of Tomorrow,
Rosa Yemen,
The Gories,
Skriet,
Black Moon,
Au Pairs,
Public Image Ltd.,
Eric Dolphy,
Mo-Dettes, Mo-Dettes, Mo-Dettes, Mo-Dettes.
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.