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 Ivory Coast and from Winnipeg.
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 1979.
I'm losing my edge.
To all the kids in Madrid and Bremen.
I'm losing my edge to the art-school Milan 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Stetsasonic to the crunk 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 Mr. Review. All the underground hits.
All Hashim tracks. I heard you have a vinyl of every Spandau Ballet 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 '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Busters record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scan 7,
Sight & Sound,
Nick Fraelich,
Swell Maps,
Altered Images,
Freddie Wadling,
Fort Wilson Riot,
Kango’s Stein Massive,
Rekid,
Piero Umiliani,
Au Pairs,
Bobby Womack,
Stockholm Monsters,
Maurizio,
Rotary Connection,
New York Dolls,
the Germs,
Barrington Levy,
Lebanon Hanover,
The Wake,
The Monochrome Set,
Pharaoh Sanders and the Fire Engines,
Mary Jane Girls,
Alison Limerick,
Ohio Players,
Josef K,
Grandmaster Flash and the Furious Five,
Groovy Waters,
Deepchord,
The Residents,
The Chocolate Watch Band,
John Coltrane,
The Electric Prunes,
Dual Sessions,
Mark Hollis,
Procol Harum,
Darondo,
Letta Mbulu,
Deadbeat,
Desert Stars,
Accadde A,
The Young Rascals,
Manfred Mann's Earth Band,
Monks,
Electric Light Orchestra,
Radiopuhelimet,
UT,
Fluxion,
Newcleus,
Sonny Sharrock,
Leonard Cohen,
Lower 48,
Sandy B,
Bootsy Collins,
Thinking Fellers Union Local 282,
Bob Dylan,
Urselle,
Brothers Johnson,
Yusef Lateef,
Rosa Yemen,
Blossom Toes,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.