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 Seychelles and from Mexico City.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Milan and Toronto.
I'm losing my edge to the art-school Spokane 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 808 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 The Star Department to the rock kids.
I played it at the Troubador.
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 Liliput. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every DNA 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 '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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 Offenders,
48th St. Collective,
New Age Steppers,
Maurizio,
Joe Smooth,
The Men They Couldn't Hang,
Patti Smith,
China Crisis,
Mandrill,
Yaz,
Buzzcocks,
Can,
Infiniti,
The Happenings,
Pharoah Sanders,
Red Lorry Yellow Lorry,
Big Daddy Kane,
The Sonics,
The Dirtbombs,
La Düsseldorf,
Nation of Ulysses,
The United States of America,
Alison Limerick,
Radio Birdman,
Yusef Lateef,
In Retrospect,
Erykah Badu,
Stiv Bators,
Section 25,
a-ha,
Todd Terry,
Shoche,
Robert Hood,
Gian Franco Pienzio,
The Alarm Clocks,
UT,
Aural Exciters,
Janne Schatter,
Art Ensemble Of Chicago,
Soul II Soul,
Supertramp,
Lightning Bolt,
Faraquet,
R.M.O.,
Marine Girls,
Sun City Girls,
PIL,
Scion,
Kayak,
Arthur Verocai,
Stereo Dub,
The Names,
Tres Demented,
Moebius,
Scientists,
The Fire Engines,
DNA,
Au Pairs,
Yellowson,
Anakelly,
Echo & the Bunnymen,
E-Dancer,
The Doors,
Prince Buster, Prince Buster, Prince Buster, Prince Buster.
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.