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 Comoros and from Mexico City.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1978.
I'm losing my edge.
To all the kids in Houston and Tehran.
I'm losing my edge to the art-school Johannesburg 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 theremin 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 Steve Hackett to the funk 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 Doors. All the underground hits.
All Heavy D & The Boyz tracks. I heard you have a vinyl of every John Holt record on German import.
I heard that you have a white label of every seminal funk 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 an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grauzone,
Organ,
Dead Boys,
Excepter,
Sister Nancy,
Flash Fearless,
Black Bananas,
Fort Wilson Riot,
Mr. Review,
AZ,
The Black Dice,
Pole,
Blossom Toes,
Agitation Free,
Gastr Del Sol,
B.T. Express,
The Detroit Cobras,
Hardrive,
Bill Wells,
OOIOO,
Freddie Wadling,
Andrew Ashong & Theo Parrish,
Wings,
Visionaries,LMNO, T- Love & Iriscience,
Arthur Verocai,
The Star Department,
Arcadia,
Black Flag,
Sun Ra,
Gong,
Flipper,
Todd Terry,
Davy DMX,
Underground Resistance,
Stockholm Monsters,
Spandau Ballet,
FM Einheit,
Joyce Sims,
Ronan,
Larry & the Blue Notes,
Heavy D & The Boyz,
Danielle Patucci,
Absolute Body Control,
Eddi Front,
Sarah Menescal,
Outsiders,
Banda Bassotti,
Clear Light,
the Normal,
Heaven 17,
Mo-Dettes,
The Associates,
Avey Tare,
Desert Stars,
Chrome,
The Alarm Clocks,
The Sonics,
Ludus,
Toni Rubio,
London Community Gospel Choir,
E-Dancer,
Bobbi Humphrey,
Maleditus Sound,
Carl Craig,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.