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 Gabon and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1979.
I'm losing my edge.
To all the kids in Winnipeg and Manila.
I'm losing my edge to the art-school Portland 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Justin Hinds & The Dominoes to the grime 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 The Moody Blues. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every Ralphi Rosario 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 '80s cut and another box set from the '80s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Excepter record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bob Dylan,
Rotary Connection,
Subhumans,
Andrew Ashong & Theo Parrish,
the Association,
The Selecter,
Marine Girls,
Isaac Hayes,
Ten City,
Barbara Tucker,
Ronnie Foster,
New York Dolls,
Johnny Osbourne,
Terry Callier,
Big Daddy Kane,
Tres Demented,
Ponytail,
Aaron Thompson,
Louis and Bebe Barron,
Lucky Dragons,
Dawn Penn,
X-101,
The Monochrome Set,
Gastr Del Sol,
Hoover,
Piero Umiliani,
Animal Collective,
Magazine,
The Pop Group,
Underground Resistance,
Roger Hodgson,
U.S. Maple,
The Skatalites,
Dual Sessions,
Larry & the Blue Notes,
The Residents,
Prince Buster,
The Victims,
the Swans,
The Birthday Party,
Wasted Youth,
Rowland S Howard / Lydia Lunch,
David McCallum,
Aswad,
Eden Ahbez,
Lonnie Liston Smith,
Pagans,
The Neon Judgement,
Throbbing Gristle,
Cybotron,
Gong,
Audionom,
The Last Poets,
June of 44,
Siouxsie and the Banshees,
Susan Cadogan,
Bill Wells,
Jeff Lynne,
Steve Hackett,
Cluster,
Kas Product,
Thompson Twins,
Sandy B, Sandy B, Sandy B, Sandy B.
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.