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 Iran and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1966 to 1971.
I'm losing my edge.
To all the kids in Philadelphia and Calgary.
I'm losing my edge to the art-school New York 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 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 Jerry's Kids to the crunk 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 Sonic Youth. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every Gabor Szabo record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
the Association,
Lou Christie,
Pete Rock & C.L. Smooth,
Avey Tare's Slasher Flicks,
The Fire Engines,
Marshall Jefferson,
Babytalk,
Arthur Verocai,
Visage,
Nico,
Bobby Hutcherson,
Hoover,
Godley & Creme,
Red Lorry Yellow Lorry,
John Cale,
Lalo Schifrin,
Eden Ahbez,
MC5,
Monolake,
Robert Hood,
The Smiths,
Davy DMX,
Excepter,
Aural Exciters,
Lee Hazlewood,
Eddi Front,
Massinfluence,
Idris Muhammad,
Kings Of Tomorrow,
Lungfish,
Jesper Dahlbäck,
The Fortunes,
Sound Behaviour,
Barrington Levy,
Cal Tjader,
Suicide,
Clear Light,
Crispy Ambulance,
Flipper,
Gastr Del Sol,
The Names,
Simply Red,
Ornette Coleman,
Essential Logic,
Wings,
John Holt,
Ponytail,
Kerri Chandler,
The United States of America,
Minutemen,
Orchestral Manoeuvres in the Dark,
Marmalade,
The Five Americans,
The Count Five,
Susan Cadogan,
Guru Guru,
Angry Samoans,
Ronnie Foster,
Quando Quango,
Sonny Sharrock,
Liliput, Liliput, Liliput, Liliput.
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.