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 Burundi and from Manila.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Taipei and London.
I'm losing my edge to the art-school Bremen 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the chamberlin 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 Slave to the dance kids.
I played it at the Spitz.
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 Gang Starr. All the underground hits.
All Bootsy's Rubber Band tracks. I heard you have a vinyl of every Brand Nubian 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Theoretical Girls,
Ash Ra Tempel,
Grey Daturas,
Juan Atkins,
Stockholm Monsters,
Masters at Work,
Ultramagnetic MC's,
The Move,
Heavy D & The Boyz,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Camron Feat. Memphis Bleek And Beenie Seigel,
Monks,
Country Teasers,
Peter Gordon & Love of Life Orchestra,
Monolake,
Parry Music,
Kaleidoscope,
The American Breed,
Al Stewart,
London Community Gospel Choir,
Jimmy McGriff,
Lou Christie,
Sarah Menescal,
Terrestrial Tones,
The Residents,
Little Man,
Todd Terry,
Jeru the Damaja,
Buzzcocks,
ABC,
Eric Dolphy,
Kool Moe Dee,
The Mummies,
Fluxion,
Kenny Larkin,
Japan,
Zapp,
Godley & Creme,
The Selecter,
Peter and Kerry,
OOIOO,
Bobbi Humphrey,
The Barracudas,
Davy DMX,
The Star Department,
Flipper,
Lyres,
Rod Modell,
Ronnie Foster,
Sunsets and Hearts,
Rapeman,
Fatback Band,
Selector Dub Narcotic,
Susan Cadogan,
Saccharine Trust,
Man Eating Sloth,
The Dead C,
F. McDonald,
David Axelrod,
Bang on a Can All-Stars,
Animal Collective,
Black Pus, Black Pus, Black Pus, Black Pus.
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.