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 Ireland and from Seoul.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1971.
I'm losing my edge.
To all the kids in Copenhagen and Bremen.
I'm losing my edge to the art-school Madrid 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 chamberlin 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 Al Stewart to the dance kids.
I played it at the Hacienda.
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 Kayak. All the underground hits.
All Fifty Foot Hose tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your theremin and bought an oboe.
I hear that you and your band have sold your oboe and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bob Dylan,
Kaleidoscope,
Jerry Gold Smith,
Larry & the Blue Notes,
Spandau Ballet,
Captain Beefheart & His Magic Band,
Röyhkä ja Rättö ja Lehtisalo,
Patti Smith,
Gabor Szabo,
Bang On A Can,
Dave Gahan,
Franke,
Don Cherry,
T.S.O.L.,
Derrick Morgan,
Loose Ends,
Aswad,
Thinking Fellers Union Local 282,
Rod Modell,
Ronan,
James White and The Blacks,
Intrusion,
Agent Orange,
Khruangbin,
The Seeds,
Japan,
Buzzcocks,
The Moody Blues,
Gang of Four,
Model 500,
Bill Wells,
Shuggie Otis,
DeepChord presents Echospace,
The Happenings,
Subhumans,
Q and Not U,
Infiniti,
the Bar-Kays,
Eden Ahbez,
Donald Byrd,
Siouxsie and the Banshees,
Ralphi Rosario,
Alton Ellis,
Michelle Simonal,
Sex Pistols,
The Jesus and Mary Chain,
Leonard Cohen,
Aloha Tigers,
The Neon Judgement,
The West Coast Pop Art Experimental Band,
The Residents,
Maleditus Sound,
Pantytec,
The Star Department,
Con Funk Shun,
Angels of Light & Akron/Family,
The Knickerbockers,
Sister Nancy,
R.M.O.,
Goldenarms,
DJ Sneak,
Unrelated Segments,
Popol Vuh, Popol Vuh, Popol Vuh, Popol Vuh.
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.