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 Benin and from Johannesburg.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Columbus and Milan.
I'm losing my edge to the art-school Copenhagen 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 spring reverb 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 Ronnie Foster to the jazz kids.
I played it at the 40 Watt.
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 Red Lorry Yellow Lorry. All the underground hits.
All The Angels of Light tracks. I heard you have a vinyl of every The Dead C record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Moebius record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
Aural Exciters,
The Trojans,
Moby Grape,
Little Man,
Ten City,
Kango’s Stein Massive,
Harmonia,
It's A Beautiful Day,
Subhumans,
Hardrive,
FM Einheit,
Junior Murvin,
Quadrant,
Notorious Big And Bone Thugs,
The Fugs,
Stereo Dub,
Vladislav Delay,
Sexual Harrassment,
Yaz,
Scratch Acid,
Sight & Sound,
The Sonics,
Crime,
Second Layer,
The Techniques,
Barrington Levy,
Aswad,
Erykah Badu,
ABBA,
Delon & Dalcan,
Rod Modell,
Spandau Ballet,
Gichy Dan,
Jandek,
The Neon Judgement,
Brass Construction,
Deakin,
Danielle Patucci,
Country Teasers,
Freddie Wadling,
Radiohead,
The West Coast Pop Art Experimental Band,
Kevin Saunderson,
One Last Wish,
James Chance & The Contortions,
Pere Ubu,
Amazonics,
The Monks,
De La Soul & Jungle Brothers,
Fatback Band,
The Gladiators,
Trumans Water,
Kaleidoscope,
Black Sheep,
KRS-One,
Robert Görl,
The Misunderstood,
Excepter,
L. Decosne,
Bootsy Collins,
China Crisis,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.