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 El Salvador and from Bremen.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Toronto.
I'm losing my edge to the art-school London 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 Steve Hackett to the rock 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 The Victims. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Nick Fraelich record on German import.
I heard that you have a white label of every seminal grime 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 guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
Sandy B,
Scratch Acid,
New York Dolls,
Smog,
China Crisis,
The Velvet Underground,
Jesper Dahlback,
Mo-Dettes,
Accadde A,
Essential Logic,
Al Stewart,
LL Cool J,
Ronan,
Unwound,
Barclay James Harvest,
New Order,
Bizarre Inc.,
X-Ray Spex,
Terry Callier,
Liliput,
Echo & the Bunnymen,
Freddie Wadling,
Television,
Mary Jane Girls,
The Evens,
Lakeside,
Man Parrish,
Gregory Isaacs,
Amazonics,
Swans,
The Birthday Party,
Ten City,
Average White Band,
Hoover,
Monolake,
Dual Sessions,
Super Lover Cee & Casanova Rud,
Eddi Front,
Tropical Tobacco,
A Flock of Seagulls,
Junior Murvin,
The Leaves,
Teenage Jesus and the Jerks,
Kurtis Blow,
Soulsonic Force,
X-102,
Quantec,
Vladislav Delay,
Arab on Radar,
The Monks,
Nico,
June of 44,
Mission of Burma,
Roxette,
Country Joe & The Fish,
Ludus,
The Busters,
Radiohead,
Donald Byrd,
Skriet,
the Normal,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.