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 San Marino and from Hong Kong.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Taipei.
I'm losing my edge to the art-school Mexico City 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Maurizio 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 Masters at Work. All the underground hits.
All Thinking Fellers Union Local 282 tracks. I heard you have a vinyl of every Warren Ellis 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 '60s cut and another box set from the '80s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Babytalk,
Black Pus,
Severed Heads,
Jimmy McGriff,
Traffic Nightmare,
Roxette,
Gang Starr,
Gang of Four,
Bronski Beat,
Thompson Twins,
Mandrill,
Ice-T,
Black Sheep,
Eve St. Jones,
New Order,
Marmalade,
Erykah Badu,
Wolf Eyes,
Underground Resistance,
Stockholm Monsters,
Oneida,
Reagan Youth,
Gong,
The Kinks,
It's A Beautiful Day,
Michelle Simonal,
Ultramagnetic MC's,
Urselle,
Cymande,
Radiohead,
Manfred Mann's Earth Band,
Glenn Branca,
Royal Trux,
kango's stein massive,
Alton Ellis,
Basic Channel,
Smog,
In Retrospect,
The Searchers,
Ronnie Foster,
Nation of Ulysses,
Thee Headcoats,
Reuben Wilson,
James Chance & The Contortions,
Lakeside,
Robert Görl,
Fat Boys,
Roy Ayers,
Rod Modell,
Davy DMX,
The Doobie Brothers,
Wighnomy Brothers & Robag Wruhme,
Talk Talk,
Stetsasonic,
Das Ding,
The Wake,
Zero Boys,
Junior Murvin,
The Fugs,
Dual Sessions,
Tears for Fears,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.