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 Panama and from Stockholm.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1970.
I'm losing my edge.
To all the kids in London and Manila.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the linndrum sounds with much patience.
I was there when Robert Palmer 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 The Evens to the disco kids.
I played it at Cafe Wha.
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 United States of America. All the underground hits.
All Yazoo tracks. I heard you have a vinyl of every David Axelrod 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Lucky Dragons record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Eating Sloth,
Robert Hood,
Lakeside,
The Flesh Eaters,
Jimmy McGriff,
Cal Tjader,
June of 44,
Echospace,
Rhythm & Sound,
Bill Near,
The Busters,
Sex Pistols,
Ultramagnetic MC's,
Minny Pops,
the Fania All-Stars,
Dennis Brown,
Deutsch Amerikanische Freundschaft,
Röyhkä ja Rättö ja Lehtisalo,
L. Decosne,
Tommy Roe,
Ronan,
Glenn Branca,
Big Daddy Kane,
Laurel Aitken,
Jacob Miller,
Spandau Ballet,
Erasure,
Pulsallama,
Patti Smith,
Letta Mbulu,
Masters at Work,
The Birthday Party,
World's Most,
Severed Heads,
Buzzcocks,
R.M.O.,
Kool Moe Dee,
Drexciya,
Gichy Dan,
U.S. Maple,
Ultimate Spinach,
Liliput,
Todd Rundgren,
B.T. Express,
Anthony Braxton,
Faust,
Ituana,
Rowland S Howard / Lydia Lunch,
Warsaw,
Al Stewart,
The Walker Brothers,
8 Eyed Spy,
Sound Behaviour,
Urselle,
The Red Krayola,
Bootsy Collins,
The Offenders,
Yazoo,
Fort Wilson Riot,
Qualms,
Dawn Penn,
The Dirtbombs,
The Moody Blues,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.