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 Nigeria 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 1963 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Woodstock.
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 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 Japan to the electroclash kids.
I played it at the Crocodile.
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 Skarface. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every Grey Daturas record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
Sad Lovers and Giants,
Godley & Creme,
Roy Ayers Ubiquity,
Lucky Dragons,
New Age Steppers,
Gong,
Cal Tjader,
Angry Samoans,
Lower 48,
Gang of Four,
Terrestrial Tones,
The Beau Brummels,
The Monochrome Set,
Unrelated Segments,
Bootsy's Rubber Band,
Symarip,
Matthew Halsall,
The Flesh Eaters,
The Slits,
ABBA,
Pierre Henry,
Ohio Players,
Subhumans,
June of 44,
PIL,
Zero Boys,
Severed Heads,
Suburban Knight,
Johnny Clarke,
the Fania All-Stars,
Pharoah Sanders,
Make Up,
Agent Orange,
Urselle,
The Durutti Column,
Kenny Larkin,
Tears for Fears,
Ice-T,
Dave Gahan,
Lonnie Liston Smith,
Sällskapet,
Grey Daturas,
Bizarre Inc.,
Blake Baxter,
Rahsaan Roland Kirk,
The Associates,
cv313,
The Black Dice,
James Chance & The Contortions,
The Victims,
Hasil Adkins,
Alphaville,
Minor Threat,
The Buckinghams,
The Detroit Cobras,
The Peanut Butter Conspiracy,
Ten City,
Ken Boothe,
Nils Olav,
The Chocolate Watch Band,
Lungfish, Lungfish, Lungfish, Lungfish.
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.