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 Rwanda and from Hong Kong.
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 1970.
I'm losing my edge.
To all the kids in Copenhagen and Stockholm.
I'm losing my edge to the art-school Seoul 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the guitar sounds with much patience.
I was there when Donald Fagen 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 Bizarre Inc. 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 Gabor Szabo. All the underground hits.
All Heaven 17 tracks. I heard you have a vinyl of every Darondo 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
The Fire Engines,
Rufus Thomas,
Lungfish,
Lalo Schifrin,
Junior Murvin,
Model 500,
Simply Red,
Albert Ayler,
Matthew Halsall,
Toni Rubio,
Ossler,
The Cramps,
Fort Wilson Riot,
Lalann,
Nick Fraelich,
The Music Machine,
Grey Daturas,
X-101,
The Remains,
Art Ensemble Of Chicago,
Michelle Simonal,
The Real Kids,
The Misunderstood,
In Retrospect,
Sad Lovers and Giants,
Country Joe & The Fish,
Don Cherry,
Bad Manners,
The Slits,
Rapeman,
Cluster,
Urselle,
Maurizio,
Alison Limerick,
Crispian St. Peters,
Judy Mowatt,
Eurythmics,
Bill Near,
the Germs,
Clear Light,
Darondo,
Franke,
Moebius,
Eli Mardock,
Panda Bear,
The Techniques,
Pete Rock & C.L. Smooth,
Shuggie Otis,
Gil Scott-Heron and Jamie xx,
Henry Cow,
Underground Resistance,
Eve St. Jones,
The Wake,
Jacob Miller,
The Standells,
Fear,
Black Sheep,
Joey Negro,
The Last Poets,
Severed Heads,
Section 25,
Robert Hood,
Oppenheimer Analysis,
Desert Stars, Desert Stars, Desert Stars, Desert Stars.
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.