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 Senegal and from Beijing.
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 1969 to 1974.
I'm losing my edge.
To all the kids in New York and Sao Paulo.
I'm losing my edge to the art-school Bremen 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Max Romeo to the jazz 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 Sarah Menescal. All the underground hits.
All Trumans Water tracks. I heard you have a vinyl of every Fort Wilson Riot record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Fat Boys record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
The Fall,
Fad Gadget,
Ohio Players,
The Sisters of Mercy,
Man Eating Sloth,
John Lydon,
Quantec,
Kurtis Blow,
Crash Course in Science,
Rhythim Is Rhythim,
Amon Düül II,
Boogie Down Productions,
Intrusion,
Saccharine Trust,
The Peanut Butter Conspiracy,
Brick,
Model 500,
Unrelated Segments,
Kaleidoscope,
Monolake,
Blake Baxter,
Index,
The Moody Blues,
Sam Rivers,
A Flock of Seagulls,
Wings,
Fear,
The Monochrome Set,
Fela Kuti,
The Men They Couldn't Hang,
Jesper Dahlback,
Ken Boothe,
Kenny Larkin,
Liliput,
Junior Murvin,
Eddi Front,
Kerri Chandler,
The Evens,
Fluxion,
Blancmange,
Barry Ungar,
Reuben Wilson,
Sparks,
James White and The Blacks,
Larry & the Blue Notes,
Derrick Morgan,
Susan Cadogan,
Royal Trux,
Lucky Dragons,
Youth Brigade,
James Chance & The Contortions,
Essential Logic,
Black Pus,
Hasil Adkins,
Siglo XX,
It's A Beautiful Day,
The Toasters,
Sonic Youth,
Oblivians, Oblivians, Oblivians, Oblivians.
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.