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 Ivory Coast and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Madrid.
I'm losing my edge to the art-school Spokane 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 Lou Reed 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 Q65 to the rock kids.
I played it at the Roxy.
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 Shuggie Otis. All the underground hits.
All Bobby Byrd tracks. I heard you have a vinyl of every The Martian record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Wake,
Pussy Galore,
Barry Ungar,
Sight & Sound,
Marmalade,
Brass Construction,
Piero Umiliani,
Stockholm Monsters,
Marc Romboy vs. Booka Shade,
The Smiths,
Hot Snakes,
The Mummies,
The Vogues,
Dave Gahan,
The Happenings,
Lonnie Liston Smith,
H. Thieme,
Masters at Work,
Yellowson,
the Slits,
Alton Ellis,
cv313,
Television,
Con Funk Shun,
David Axelrod,
Wighnomy Brothers & Robag Wruhme,
Rod Modell,
Andrew Ashong & Theo Parrish,
Bad Manners,
Eli Mardock,
ABC,
The Invisible,
Liliput,
Electric Light Orchestra,
Throbbing Gristle,
Moby Grape,
Kool G Rap & DJ Polo,
Joe Smooth,
Colin Newman,
Brick,
Inner City,
Section 25,
Bootsy's Rubber Band,
the Normal,
Rekid,
Quando Quango,
Minor Threat,
The Golliwogs,
Boredoms,
Blossom Toes,
It's A Beautiful Day,
Minnie Riperton,
Major Organ And The Adding Machine,
Grandmaster Flash,
Index,
Maurizio,
Heavy D & The Boyz,
Heaven 17,
Nils Olav,
Tears for Fears,
Second Layer,
Mo-Dettes,
The Pretty Things,
Lee Hazlewood,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.